INTERVIEW: Desirée Dawson

INTERVIEW:

Desirée Dawson

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I have been speaking with Desirée Dawson…

about her new single, Just Fine, and what its story is. She discusses the musicians she counts as role models and whether we might see more material coming down the tracks – the Canadian artist reveals her favourite albums and what she hopes to achieve by the end of this year.

I was keen to know whether we could catch her tour and what advice she would give to fellow songwriters; if she has a favourite memory from music so far; which upcoming acts we need to get behind – she ends the interview with a brilliant song.

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Hi, Desirée. How are you? How has your week been?

The week has been so great. Very full and exhausting but great overall!

For those new to your music; can you introduce yourself, please?

I am a singer-songwriter from Vancouver, BC (Canada) which is the traditional, ancestral and unceded territory of the Coast Salish First Nations people. My music is always authentic and my instrument of choice is my voice; although, I do support my voice with the baritone ukulele. The music I create is a deep dive into the human condition; drawing from my own life experiences and the experiences of those around me.

I have been writing and making music for a while but, since winning the CBC Searchlight Contest in 2016, things really have been expanding and growing for me in so many ways. Many of my songs have been playing across Canada on CBC Radio 2  and other stations. I am so thankful for the support as it has really helped allow the music I make to reach more people.

Just Fine is your latest single. Can you reveal the story behind it?

Just Fine is about me acknowledging these two sides of myself. One side is very fear-based: it’s scared, worried and confused and often tells me things like: ‘I should give up and stop trying to follow my dreams’. I've come to realize that this side of me is just trying to keep me safe. There is another side of me that is also trying to keep me safe, but not with scare tactics. This other side LOVES when I’m adventurous and wild. This part of me does not even comprehend playing small and is always encouraging me to listen to my heart’s deepest desires and to run, jump and dive into it!

Because both of the parts of me are trying to keep me safe, they battle all the time. Hahaha. The song is about acknowledging them but letting them both know that I’m going to be just fine. After sharing this song for the first time, I got such a wonderful response from people. They also felt the same! Every show I play I have at least two people say: "Get out of my head! How did you know I was thinking these things?!" or "I feel like you just read out my diary in front of all of these people!".  I am so excited that this song allows me to express and be vulnerable, all while creating a space for others to do the same.

Might we see an E.P. or album later in the year, perhaps?

I have so many songs that are just begging to be let out into the world, so I feel like I will stick to putting out singles over the next little bit. But, I do have some E.P. plans in the works as well. Nothing concrete yet.

Which musicians inspired you growing up? Who do you count as role models?

I grew up listening to artists such as Lady Smith Black Mambazo, Stevie Wonder; Des’ree and Tracy Chapman as a young child and found myself listening to the likes of Lauryn Hill, Beyoncé; Daughter, Adele; Amy Winehouse, Lily Allen; Alicia Keys and a lot of Motown artists in my teens/early adult life. I think a combo of all of these musical storytellers, plus many of others, have helped inspire and guide me over the years.

What do you hope to achieve by the end of 2018?

More lovely music; more lovely collaborations and connections. Also; I have some pretty amazing tours planned - stay tuned! (Smiles).

Have you got a favourite memory from your time in music – the one that sticks in the mind?

A moment that is currently sticking out is when I played a festival in my hometown of White Rock, BC. My hometown is beautiful but it's a place where I hold some painful memories. I remember being on stage singing a song that was so vulnerable and I was scared how it would be received. I almost did not sing it. I was singing so strong, from my heart; on a stage right next to the ocean and, to my surprise, the song was a hit! I was met with so much love and support.

It felt like a homecoming to my hometown and truly stepping into myself (and accepting myself). So many people that day came up letting me know how much the connected to the song. It was a really special moment. The song is called Hey Brother - off my debut album, Wild Heart.

Which three albums mean the most to you would you say (and why)?

Gift of the Tortoise – Ladysmith Black Mambazo

I was afraid of the dark as a kid and my sister and I used to listen to Gift of the Tortoise to fall asleep when we were kids. It inspired me to see music as a source of light in the darkness. This album taught me that music is a powerful healer and that a whole song can be filled with life, even without any instruments! Oh, how powerful the human voice can be. It also was a nice glimpse into a culture very different than the one I grew up in as a young child - and I am very grateful to have been able to go to that place every night as a little one!

The Miseducation of Lauryn Hill/MTV Unplugged No. 2.0 – Lauryn Hill and 19 - Adele

Both Lauryn and Adele were crucial for me. Watching women express themselves so vulnerably and to tell such moving stories with their lyrics, but also with they range in their vocals, was really important for me to do what I do.

If you could support any musician alive today, and choose your own rider, what would that entail?

I would love to support Lianne La Havas, Alessia Cara; Alicia Keys or Lauryn Hill.

Here is a glimpse into my dream rider: peppermint tea, roasted dandelion tea; almonds, organic fruit platter; a clean floor to do yoga on, water; diffuser with peppermint and eucalyptus essential oils in it; a couple blankets and pillows for my team and myself to take a little nap if needed.

Can we see you on tour soon? What dates are coming up?

Stay tuned for dates at www.desireedawsonmusic.com.

Might you come to the U.K.? Do you like British music?

I do like British music and I hope to be in the U.K. next summer!

What advice would you give to new artists coming through?

Be yourself! Do your thing! The world is in need of YOU, not another version of someone else.

IN THIS PHOTO: Alysha Brilla

Are there any new artists you recommend we check out?

They are not necessarily new,  but I am going to send you a list of just a few of my fave Canadian artist in the scene who have recently put out some new stuff that is definitely worthy of checking out A.S.A.P.:

Alysha Brilla - Rooted (album)

Matt Storm - You Still Stay (single)

Sam Lynch - Light and Lines (E.P.)

Missy D + Kimmortal - XX (single)

Khari Wendell McClelland - Freedom Singer (album)

 IN THIS PHOTO: Khari Wendell McClelland

Do you get much time to chill away from music? How do you unwind?

Lately, it’s been pretty hectic and I don’t have much time to chill. Luckily, I have expanded my team a bit and have more hands on deck so I am able to carve out little bits of the day for myself. I like to be with the trees somewhere. I like to be in my apartment with my plants and lay on the floor listening to other people's music. I like to spend time with my dear friends and be near the ocean or any big body of water!

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Beats ‘n’ Stops - Alysha Brilla

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Follow Desirée Dawson

Instagram:

https://www.instagram.com/desireedawsonofficial/

Facebook:

https://www.facebook.com/desireedawsonofficial

Twitter:

https://twitter.com/desireedawsonco

Spotify:

https://open.spotify.com/album/1rXZ5jnyiAyCwS1Obo03DM

SoundCloud:

https://soundcloud.com/desireedawson

Bandcamp:

https://desiree-dawson.bandcamp.com/

INTERVIEW: Overdog

INTERVIEW:

Overdog

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THE guys of Overdog have been…

talking with me about their new cut, Question Mark, and what it was like working at Decimal Studios with Chris Coulter. The band talk about their formation and the sort of sounds they are influenced by; whether there is more material coming down the line – I ask whether we can catch them on tour this year.

Overdog recommends some upcoming artists to look out for and tell me how they chill away from music; whether, in their view, Alternative sounds are coming back to the fore; what their favourite career memories are – they provide some useful advice for artists coming through.  

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Hi, guys. How are you? How has your week been?

Sam: Good, thanks! We’re all pretty busy preparing for our first tour and a new round of recordings, as well as lots of non-musical stuff.

For those new to your music; can you introduce yourselves, please?

Olly: We play intricate, melodic Rock music, with an emphasis on vocal harmonies and layered guitar parts.

Rob: I usually describe our sound as something of a fusion of Jimmy Eat World and Fleetwood Mac…

Sam: Maybe with some Biffy Clyro thrown in.

Adam: But there are some Post-Rock influences too.

Steve: It’s complicated...

Question Mark is your latest single. Is there a tale behind the song?

Olly: A certain relationship made me reflect on the limits of storytelling, and literature in particular, as a metaphor for understanding my own life. The characters of a book can’t change how their story ends. People, to varying extents, often can. I wrote the song in response to those feelings. But, hopefully, people can find their own meaning and have their own response to the song.

What was it like working with Chris Coulter and recording at Decimal Studios?

Rob: Working with Chris was a pleasure. He’s a chill guy but really knows his trade. He took the nebulous, half-formed ideas we had for the single and quickly turned them into tangible, awesome little additions.

Sam: He had exacting attention to detail, especially with all things guitar. I think he pushed us to a higher level in that way.

Rob: Decimal Studios is great; set up on a private island in the middle of the Thames near Hampton. When you amble across the bridge onto the lot, you feel like you are stepping into your own little private world. The surroundings really let us get into a great creative headspace.

How did Overdog get together? Was that an instant spark between you?

Olly: Most of us met at university and played in various bands together but, when this band got going in 2011, I invited Rob to join us - I’d played with him in a band at school. So, there was a pretty good set of musical relationships there already, but something definitely ‘clicked’ when all five of us played together the first time.

Your music has a great Indie/Rock sound. Do you think guitar music is evolving and coming back to the fore right now?

Sam: Personally, I think we have to talk about music evolution differently in the streaming age. I think that while there’s still a ‘mainstream’ of sorts, the easy accessibility of so much music opens up all these niches. I think people are listening within all these little genre bubbles and, you as a musician, you can do whatever you want and find your niche.

Adam: I think the distinctions between different styles such as ‘guitar music’ are becoming less important as time goes by as artists are incorporating ever more diverse sounds and instrumentation into their work. There is now so much cross-pollination between different genres the lines have become blurred.

Sam: I would say, though, that people still fundamentally want to see bands with stage chemistry and who take joy in performing – as well as having some original twists.

Is there more material coming from you guys? What are you working on?

Absolutely. We’re into a new phase of recording now and there will be more singles coming over the next few months, eventually leading to a full-length album. Watch this space.

Are you all inspired by the same sort of music? Are there particular artists that helped you find your own sound?

Olly: There are a few bands we all enjoy - Jimmy Eat World the most obvious example – but, really, we’re a very eclectic bunch. Rob listens to a lot of British and Irish Folk alongside bombastic Heavy Metal, whilst Adam has a background in Jazz, for example.

Rob: I think these broad and often contrasting tastes in music help us to write in unexpected or unconventional ways.

What do you hope to achieve before the end of 2018?

Sam: it would be great to get a touring slot and/or summer festival slot for next year. We’ve played a couple of urban festivals and are doing a short tour this month - but the full-on tour and festival experiences would be great.

Have you each got a favourite memory from your time in music – the one that sticks in the mind?

Rob: Our gig at 93 Feet East on Brick Lane (in London) was memorable for me personally. Being a five-piece, we can often feel quite packed in on smaller stages but there we had room to really get in the zone and perform with a bit of swagger.

Olly: For me, it was the whole process of making The Breeze That Hits Your Ear, our E.P. from 2016. It was the culmination of a drawn-out but inspiring creative process and only possible thanks to the generosity of family and friends who supported our crowdfunding for the recording costs.

Adam: In a different vein, one of my favourite memories is when we all went slightly mad during an extended practice session in an underground car park in Zürich and invented a game called ‘Flangeponce’. I’ll say no more…

If you could support any musician alive today, and choose your own rider, what would that entail?

Rob: If they ever got back together, I’d love to support My Chemical Romance. I feel like Rock today is sorely lacking in genuine frontmen and women but Gerard Way is one of them. He’s one of the best Rock entertainers from the last twenty years and wants to put on a real show, rather than just play a gig. Sharing a stage with him and the rest of M.C.R. would be a blast.

Steve: I've always thought Muse put on a great live show - each of them are brilliant musicians and I love the range of sounds and influences that Chris Wolstenholme plays with. So, I'd love to play a show with them.

The rider would consist of lots of pain au chocolat…

Adam: …and lots of pasta and pesto…

Olly: …and hummus.

What advice would you give to new artists coming through?

Sam: Not to underestimate how important it is to keep developing your craft, your performance skills; your core music abilities. There have been times when I lost sight of this and felt like ‘we’re ready; we just need to get noticed’, when, really, there was still work to be done in honing my skills as a performer.

Adam: I don’t feel wise enough yet to give any advice…but, I guess the important thing is, if you love what you do, then you’re already successful.

Where can we see you play? Do you have any gigs approaching?

Olly: We usually play in Central and East London but we are playing in Leeds on Tues, 31st July, Manchester on Wed, 1st August and Oxford on Fri, 3 August alongside some great acts from the States. Come!

IN THIS PHOTO: Those Handsome Animals

Are there any new artists you recommend we check out?

Sam: Some of the best acts we’ve played alongside so far include Those Handsome Animals (major-key-punky, melodic Rock); Acrylic (spacey, Scottish Indie) and Andy Ruddy (singer-songwriter; unforgettable voice).

 IN THIS PHOTO: Acrylic

Do you get much time to chill away from music? How do you unwind?

Rob: Well, I’m an avid video gamer. But, I’d say video games are equal parts relaxation and irritation! Especially where competitive multiplayer games like Overwatch are concerned...

Adam: Usually, I like to read a book or listen to podcasts. I just finished reading the wonderful Neverwhere by Neil Gaiman which I’d especially recommend to anyone living in London, and my favourite podcast at the moment is the surreal and hilarious Athletico Mince.

Sam: We all chill out in different ways but I think we’re all highly aware of the importance of time off. You’ll produce your best stuff when you have that balance.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Rob: I’d love if you could play Sam Kelly & The Lost Boys’ Chasing Shadows. Sam Kelly was a finalist on Britain’s Got Talent years ago and, since then, he’s gone on to become one of the most exciting young artists in British Folk!

Sam: Adam introduced me to the Dutch band The Mysterons and I’ve been obsessed with Turkish Delight for the past two or three months

Adam: Please could you play Compendium by Elder (from their album, Lore)

Olly: Phoebe Bridgers’ version of The Gold by Manchester Orchestra

Steve: I've been enjoying a lot of Frank Turner recently as a nice Rock/Folk mix. It'd be great if you could play Peggy Sang the Blues; mostly because I really like the bassline.

________________

Follow Overdog

Instagram:

https://www.instagram.com/overdogtheband/

Facebook:

https://www.facebook.com/overdogtheband/

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https://twitter.com/overdogtheband

YouTube:

https://www.youtube.com/channel/UC20z5FsUdJMmPTq00qXvw-w

Spotify:

https://open.spotify.com/artist/10wVfaa008I6L0N1tfOJJu

SoundCloud:

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Bandcamp:

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PHOTOS OF OVERDOG:

Justine Trickett

FEATURE: National Album Day: Why We Should Celebrate It Rather Than Attack and Doubt Its Aim

FEATURE:

 

 

National Album Day

ALL PHOTOS (unless credited otherwise): Unsplash 

Why We Should Celebrate It Rather Than Attack and Doubt Its Aim

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EVERY music-specific day will draw some form of criticism…

and scepticism. Every day of the year, in fact, seems to be reserved for some hopeless and ridiculous cause – from pirates and emojis to God-knows-what! If you need to know what National Album Day is about and why it has been created; here is a little bit of an overview:

“A ‘National Album Day’ has been announced to take to place for the first time ever to celebrate the 70th anniversary of the album format.

The event, which will be held on October 13, will mark the culmination of a week-long series of events and activity around the country.

Planned activity will include retail events and artist personal appearances, classic album Sundays LP playbacks and artist interviews/fan Q and As and online listening parties.

A social media campaign (@AlbumDayUK / #NationalAlbumDay) will invite people to nominate and share the album that has most inspired them and at 3.33pm on 13th October – National Album Day – fans, stores, radio stations and public spaces will be invited to play their favourite album in full”.

Some might look at that summary and think it is a ploy to gain revenue and flog a dead horse – more on that later! It has been estimated that 135 million albums – more, in fact – were purchased or downloaded (or streamed) in 2017. This is a 9.5% rise on 2016 and vinyl sales continue to rise – 4.1 million in 2017 (the highest level since the 1990s).

More than five billion albums have been sold since the concept was invented and it seems we have not lost the appetite for the L.P. There are cynical and harsh voices that see the day, which will happen on 13th October, as a cash-in and chance for people to sell their old albums and crap nobody wants. I will bring in the argument against the day first of all. I am writing this piece as a reaction a feature that appeared in The Guardian today. Michael Hann, when reacting to the news of National Album Day, gave his impressions and felt, as the album is a bit of a bygone treasure, nobody would care too much about it. He began the piece but comparing albums to strawberries: people will buy strawberries throughout the year but the greengrocer, once a year, will sell ‘special’ punnets that are packed, branded and marked to look tasty and inviting. People, as he says, buy individual strawberries every year – why would they want a punnet when they are only going to squander most of it?! I find the comparisons to be fatuous and specious. For a start, people only buy strawberries at a very select time of year and never buy individual ones – people love a good punnet and, if you want a better fruit analogy, it is better to go with apples – selling a bag of apples rather than individual ones.

There is a problem with people/journalists thinking the album is dead or we are all so familiar with it there is no need for a specific day to celebrate it. Nobody is asking you and me to go to a record shop and part with your cash. Nobody is sticking a gun to your head and screaming at you to pick up Ed Sheeran’s % and playing it in full – if you do not listen to every track (turn Galway Girl up as loud as you can!) then you will get your brains shot out. The day is designed to show appreciation for a format that has touched us all and pushed the music industry forward! It is, in fact, a chance to showcase what richness and brilliance you can discover when listening to a complete record. One of the reasons why I disagree with what Hann says is we should not be proud of our picky selections and ignoring albums – having short attention spans and preferring singles are nothing to shout about and we should, in fact, question why we do that. We are all becoming less patient and not digesting music in the same way. Many claims the quality of music has been declining since we moved from physical forms and started embracing streaming – if people are not willing to listen to an entire album then why put the effort it?!

That is unfair on the artists...so many musicians are putting their all into records and have campaigns so they can get people invested in every single moment of the album – not just the singles we hear on the radio and the first things we encounter! Hann, in his piece, questioned the validity of the album and whether it has been a popular or worthy construct. National Album Day begins at 3:33 P.M. (see what they did there...?!) on 13th October and will be a chance to celebrate our love of the album and play our most-treasured record in its entirety. Hann turned his nose up at this suggestion:

“In truth, the real damage to the album was done by MSM anyway. It was done by labels seeing the CD as a chance to ravage fans’ wallets and purses by selling the physical product for massively more than it cost to produce. It was done by artists, given 80 minutes of time on a disc, packing them out with self-indulgent filler. And, of course – as Stephen Witt’s brilliant book How Music Got Free explained – it was done by MSM not being aware of the consequences of its actions: by concentrating on the CD, MSM converted music into a series of digital packages that were easily shareable across the internet”.

MSM, in this schematic, is ‘mainstream music’: the corporate octopus that has picked the album as a format up and ravaged listeners and fans by stripping their wallets clean. There is this rationale that C.D.s are a con because they have a few great songs and the rest of filler – far too expensive for what they are...

You can say the same about the vinyl – why do we pay so much for one?! I agree I always found it hard to rationalise why a C.D. cost about thirteen quid and what value there is in it! I always buy C.D.s knowing I want it and will not be disappointed – I do my research and, when purchasing, make sure I am not wasting money. Many might find it exorbitant paying, essentially, a quid a song and why they cannot find more onto a C.D. The restricted running time, in truth, means artists have to confine and compress themselves – Hann suggests artists are trying to justify charging that much by cramming any old rubbish on it! Artists do not set the price and control that; record labels get more of the pie and, if anything, the musician has always got far less than labels when it comes to albums. That has not really changed when it comes to streaming: the fact many of us do not pay for services like Spotify and YouTube means we are stealing music and unwilling to pay for albums! It is not the fault of the artist for our thrifty attitudes and how we want to get around paying. Music has not got to the point where artists are capable of a good song here and there and the rest is poor – we are provided options to stream for free and taking advantage; we are affording (ourselves) less time to digest music and far less patience as a species.

Hann ends his piece by making this point:

“And in a world where you no longer need to buy albums, why would anyone except the fetishist do so? The album is no longer the product, it’s the shop: the display from which the best things are plucked, and the worst things left behind”.

I argue against the point we do not ‘need’ to buy albums. By that, he means we can get stuff for free so we just pick the odd song here and there and leave the rest. Going back to his strawberry analogy and the streaming service is a sweet shop with an ageing and less-than-vigilant proprietor. Rather than ask him to decant sweets from the jars stacked on the shelf; children are picking odd sweets from the pick ‘n’ mix and unwilling to spend their pocket money if they can get away with that. This might be cruel but it is not the fault of the artist we are less reliant on the album: they are putting more effort in than ever and struggling to battle our streaming mindset and rather tight-fisted spending habits. If streaming services and the Internet did not make it possible to buy individual songs (or have them for free) then we would still buy C.D.s like we always did and explore the album fully.

The only reason albums can be seen as old-aged and irrelevant is we have let that happen – we are a poorer people and society for cherry-picking and missing out on a world of music. I agree with the point there are albums where there are fillers and not all tracks are perfect. You read reviews and, before you buy, can make the decision whether it is worth spending your money on an album with maybe four or five good songs. I often find that and, in the case of a few albums, I will buy the single/singles from Spotify and leave the rest. That has not changed: few of us go out and deliberately spend money on something we will be disappointed with. All the albums I have ever bought have been done so after reading reviews and taking a chance. If I find the odd song that doesn’t float my boat then I am not angry – paying a tenner or more for, say, nine or ten great songs I can listen to over and over seems like a pretty good deal! We want everything for free and are used to having luxury and convenience at our fingers. We stream T.V. shows and films at an absurd rate and have become so spoiled and pampered-to that we have forgotten the value of music and culture in general.

Launching the argument ‘for’ the album - I will look at another article that looks at why we need to preserve the album. In my view; music would not be where it is – so many artists out there and so much choice and innovation – were it not for the album. I grew up buying cassettes and listening to vinyl around the house. I would buy singles, on C.D., and then go out and buy an album – keen to explore that artist’s current mindset and share it with friends. All of the artists we listen to today have been raised on those formats and revelled in the album and all it holds. We do not love Joni Mitchell because there are a few good tracks on Blue – the rest is pretty crap but there are some pretty lyrics on one or two songs, I guess! NO! We marvel at every song and, for those who know what they’re doing, we buy the vinyl/C.D. and listen to every track. An album is a complete story and the full assessment of what the artist is trying to convey. If we cheapened their work by listening to one or two songs then it makes recording music and trying to connect with people completely pointless.

None of us would love or know about music were it not for the album; we all have our favourite and know, regardless of the quality of the artist,  the album is a beautiful (if flawed) technology. We can quibble over the hardware and technology of an album – the C.D. seems a little old compared to the sleek streaming alternative – but the argument you see above does not attack hardware and state we listen to full albums on streaming sites – it implies we have abandoned the album completely and handpick the odd song. Hann, too, made a point (that) C.D.s are available all year at record shops so why do we need reminding they are available – is it a chance for shops to see their old tat and make extra money from nostalgia and faded memories?! Artists write albums because they want to paint a vivid picture and give a full documentation of where they are and what they are trying to say. If we pick a few tracks and ignore the hard work they have done, then that is cheapening music and encouraging artists to rush off singles and not put too much effort into making albums. If we promote that then we are saying, effectively, don’t waste your breath because we want to hear a song or two and move on to the next artist! The BBC published an article and spoke with record shop owners:

“For Phil Barton, the owner of London record shop Sister Ray, there's one very obvious reason why albums are a big part of his life.

 IN THIS PHOTO: Sister Ray, London/PHOTO CREDIT: Pinterest

"Without the album, we wouldn't exist," he says.

"That's what we do, we sell records."

Although admitting "it's a good time for us" in terms of physical album sales, Phil suggests changes in the way people listen to through things like streaming platforms has had an impact on how some artists approach making albums.

"If you deconstructed certain albums coming out now - I'm pretty sure you'd just get a collection of songs that happen to be on an album.

"But take it back a little bit and I think artists were specifically making albums to be a body of work".

Bloosoms’ frontman Tom Ogden says bands want the full package out there and are concerned with every stage of the process. They love the artwork of the cover and involved with every song to ensure it hangs together. Artists go into the studio hoping the public hear all the songs and buy what they put out there. If we are propping bands up with a single or two and then discarding the rest then we are not going to appreciate the artist and, in essence, will not remember them. Albums are the mark of every artist and what we remember them by. We do not love The Beatles because of Hey Jude and celebrate Aretha Franklin because of Respect. I still love albums because every track tells a different story and gets into the head. If a track is not too good at first, I will listen a few more times and find something good – if I have given it proper time then I cannot quibble.

IN THIS PHOTO: National Album Day's ambassador (2018) Paloma Faith/PHOTO CREDIT: Getty Images

Artists want us to listen to an entire album and give it a chance; it gives a much more rounded viewpoint and can stun and surprise us. This year alone, I have found treasures that rank alongside the best albums I have heard this decade! If I had not listened to them, in full, then I would have missed out on so much. The fact we are consuming fewer albums and hold them in lower esteem is our fault and not that of the artist. We are becoming too hurried and uneducated; we are becoming snobs and petulant with our tastes. We want to pay as little as we can and are unwilling to give new music a chance – ironically, we drool over classic albums and rave about those vinyl records we bought when we were younger. We cannot say the album should not be celebrated and revived when we all grew up surrounded by them! Paloma Faith is the ambassador of the first National Album Day and, when talking about the event, said the following:

“I vividly remember being excited by so many classic albums as I was growing up, like Marvin Gaye’s ‘What’s Going On’, Dylan’s ‘Freewheelin’’, and Erykah Badu’s ‘Mama’s Gun’, although, if I had to pick one, the album that most inspired me was Tracy Chapman’s self-titled debut”.

IMAGE CREDIT: Getty Images

We all talk about those classic albums and how, even if there was one or two duff tracks, great they were. Look at the history of albums, as laid out by the article I just quoted, and you can see:

“In 1948, Columbia Records unveiled 12″ 33/3 rpm “microgroove” discs, which could house 22 mins minutes of music per side. Mendelssohn’s Violin Concerto was the first release. In The Wee Small Hours, Frank Sinatra’s 1955 suite of songs for the heartbroken and lonely, was the first “concept” album, sustaining its melancholy mood over 16 songs. With Rubber Soul (1965), The Beatles delivered a sophisticated, experimental body of work, proving albums could be more than a collection of singles and b-sides, paving the way for Sgt. Pepper’s Lonely Hearts Club Band (1967) Michael Jackson’s Thriller (1982) is the world’s best-selling album ever, selling 66m copies, with seven of its nine tracks released as singles. Dire Straits’ Brothers In Arms (1985) exploited the smooth sonic possibilities of the new CD format, which allows for 74 minutes of music, selling 30m copies. Drake’s new album Scorpion, featuring 25 tracks, broke records by racking up 1bn global streams inside a week. It was only released as a physical album two weeks after its digital debut”.

There are augments that claim modern songwriters have multiple writers for an album and they are less singular (albums). There are, some state, more filler on modern records and we are less likely to find anything to rival the best-selling albums ever – including Pink Floyd’s The Wall and Michael Jackson’s Thriller.

Albums are the soundtracks of our lives and can make the bleakest moments hopeful and okay. If we existed and remembered songs – rather than an album – then we would have such a fragmented and threadbare outlook. Albums, even if they contain some less-than-great songs, are how we all experienced music and what we talk about when fondly recalling. We are not giving modern artists the chance to have their work explored and fully appreciated – assuming there is filler and it is not worth our trouble. All of our bad habits need to be quashed and we need to remember why we all fell in love with music and how important to artists it is we buy albums and keep them going. Maybe C.D.s are less popular than years past but we still consume vinyl and have a big appetite for artwork and something physical. It has been shown that a higher number of younger listeners are buying albums – not only those past the age of fifty – and there are few better experiences than listening to an album in full and getting a vivid, fulsome and explicit sound of an artist’s statement. Rather than turn noses up at National Album Day why don’t we, at 3:33 P.M. on 13th October, play the albums that mean the most to us and show why the whole album, not just one or two songs, matters?! We are celebrating artistic expression and keeping alive music in its purest and most important form. Start questioning that and criticising a day that brings us together – not a chance to gauge wallets but highlight the brilliance of the album – why not get behind it and make it a permanent fixture! I don’t know about anyone else but I would not be a journalist, passionate about music and who I am today…

WERE it not for the album!

INTERVIEW: Jeen

INTERVIEW:

Jeen

___________

I have been finding out more…

about Jeen and her new track, Any Moment. The Canadian artist talks to me about her upcoming album, Gift Shop, and whether particular themes have inspired the songs; whether she feels there has been a change and evolution in her work since the early days – Jeen chooses a few albums that are special to her.

I ask if there are any tour dates coming up and what advice she’d give to artists coming through; if she gets time to relax away from music; which artists have inspired her; whether she has any goals to accomplish before the end of the year – she ends the interview by selecting a classic cut.

____________

Hi, Jeen. How are you? How has your week been?

I’m good (smiles). Busy!

For those new to your music; can you introduce yourself, please?

I’m Jeen. Been putting out records on my own for a while now. I haven’t had to get a real job yet (smile).

Any Moment is your latest track. Can you talk about its origins and backstory?

It almost didn’t get on the record. I had written it for my publisher just to have and they had a big reaction to it; they asked if I could re-record it for the album. So, I played it for Ian Blurton (who was mixing the rest of album at the time) and he had the same reaction to the track. We decided to do it at Ian’s studio (he played some guitars and co-produced it with me) so it had a bigger sound than I can get in my attic.

Gift Shop is your upcoming album. Are there particular themes and personal stories that inspired the music?

For sure. I’m a bit of an anti-social introvert so that’s an ongoing theme. Haha. Trump had been recently elected at the time of demoing stuff so the state of the world was also on my mind. The general vibe is getting through life without losing it.

Do you think you have grown in confidence since your earliest work? Have you learnt anything about yourself whilst making Gift Shop?

Tons. I was never a producer but here I am making/producing my own records. This has been a huge learning curve and I feel I finally hit a bit of a stride with this album. It took a couple records but I think I know what I like now and, more importantly, how to achieve it. Keeping it simple so I don’t get in over my head. The addition of Ian Blurton mixing has also been a godsend. I can’t say enough about him and I hope to use him for everything moving forward.

Are there particular musicians who struck your ear when you were growing up? Who do you count as idols?

Ah, geeze. The Who, Pink Floyd; The Beatles, Beastie Boys; Janes Addiction, Nirvana…I was a '90s kid, so pretty good time for music. I also worshipped Cindy Lauder as a little kid.

What do you hope to achieve by the end of 2018?

I hope I’m writing songs for my next record by the end of this year.

Will there be any tour dates? Where can we see you play?

Will have fall dates to announce soon but I only have one show booked July 24 in Toronto at the Monarch Tavern (9 P.M.).

Have you got a favourite memory from your time in music – the one that sticks in the mind?

I’ve been in bands since I was fifteen, so there are lots of memories. Last year, I did a writing camp in London (England). It was the first time I had been there, so that was cool.

Which three albums mean the most to you would you say (and why)?

Hard question. There are so many more than three, but here a few that really hit me:

Nevermind by Nirvana

I remember it coming on the radio and we were like ‘W.T.F. is this!’.

DFA - You’re a Woman, I’m a Machine

Such a great, heavy album. I’ve listened to it, like, a thousand times.

Radiohead - The Bends

It’s a pretty epic album.

Rubber Soul by The Beatles

That’s four. Ha.

If you could support any musician alive today, and choose your own rider, what would that entail?

Opening for Radiohead would be pretty dreamy.

What advice would you give to new artists coming through?

Don’t follow trends. Don’t undervalue yourself; music shouldn’t be free.

Are there any new artists you recommend we check out?

I don’t really listen to music anymore, to be honest. Sounds weird, but true. Hopefully, I’ll get out of this shi**y habit and then I’ll let you know (smiles).

Do you get much time to chill away from music? How do you unwind?

I have three dogs so they’re good for that - and CBD. Haha.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Hmmm. Let’s say Wish You Were Here by Pink Floyd

________________

Follow Jeen

Official:

http://www.jeenobrien.com/

Instagram:

https://www.instagram.com/thisisjeenmusic/

Facebook:

https://www.facebook.com/thisisjeenmusic/

Twitter:

https://twitter.com/thisisjeenmusic

YouTube:

https://www.youtube.com/channel/UCrgqWwvu7Y5Hd5xOjiUkf_g

Spotify:

https://open.spotify.com/artist/3lEWoA7lwwybODn5K0v2Bz

SoundCloud:

https://soundcloud.com/thisisjeenmusic

FEATURE: We Know You’re So Good: Seven Years On: Remembering the Incredible Amy Winehouse

FEATURE:

 

 

We Know You’re So Good

PHOTO CREDIT: Getty Images

Seven Years On: Remembering the Incredible Amy Winehouse

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THERE are few modern artists…

IN THIS PHOTO: Amy Winehouse performing on the Pyramid Stage at Glastonbury Festival in 2008/PHOTO CREDIT: Matt Cardy/Getty Images

who have made a bigger impact on music than Amy Winehouse. Today marks seven years since her death and, so long after the fact, we still mourn and remember the incredible artist. Whether you found Winehouse when Back to Black leapt into the world (2006) or discovered her music after her death in 2011 – we all have some connection with the late, great Jazz artist. It would be confined calling her music (purely) ‘Jazz’: Winehouse masterfully brought in R&B, Pop and Soul into her music. Right from her debut, Frank, people could sense there was something very special about Amy Winehouse. Life before Frank’s release (in 2003) saw Winehouse playing and singing in various groups. She was a one-time journalist for the World Entertainment News Network and, by 2000, became the featured female vocalist with the National Youth Jazz Orchestra. Channelling influences like Saran Vaughan and Frank Sinatra; this incredible artist was starting to come together. Winehouse’s best friend, Tyler James, sent a demo to an A&R executive and was soon signed to Simon Fuller’s 19 Management. Receiving a small amount each week, Winehouse continued to play and get her music out to the people. Although the singer was playing at Jazz clubs and getting her music out there; she was still an unknown quantity and it wasn’t until Island Records heard her music did her career start to make tracks.

PHOTO CREDIT: Diane Patrice 

Darcus Beese (at Island) heard Winehouse’s music by accident from the manager of The Lewinson Brothers – he showed Beese music from his clients which featured Winehouse as a backing singer. Unable to provide Amy Winehouse’s name; the manager had that secret, talented star all to himself. It too many months of searching and persistence before Amy Winehouse became known to Island Records. She had, by this time, signed a deal with EMI and there was fierce interest in the young artist. Frank arrived on 20th October, 2003 and drew some passionate reviews from journalists. Although not as hard-hitting and memorable as Back to Black; the album was a brilliant window into the abilities and influences of Amy Winehouse. That Jazz passion came through strong.

One can hear the likes of Vaughan and Sinatra in some numbers; mixed into songs by a young woman talking about her life and its highs and lows – from sex and immense passion to heartache, disappointment; through to accusation and slices from the street. A heady and eclectic collection of songs – Winehouse co-wrote every song but (There Is) No Greater Love (a 1936 Jazz standard composed by Isham Jones) – there was plenty of love from the critics. From the U.S. and U.K. to the rest of the world; journalists highlighted her subtle yet powerful voice; the blend of genres working away (many noted a comparison to Soul legends like Nina Simone and Erykah Badu) and how Winehouse provided an updated, modern-day Jazz sound that drew the listener in.

IMAGE CREDIT: Getty Images

It is the way she sprinkled Neo-Jazz and Soul together that buckled knees and dropped jaws – there was ample determination, passion and attitude to be found among the seductive, velvet-smooth and entrancing songs. If Back to Black was the masterpiece that cemented her reputation: Frank was a powerful indication of a definite star-in-the-making. Perhaps there were too many bodies in the kitchen – quite a few producers and writers assembled the music – and Winehouse herself, in terms of writing, was yet to stand out and establish her true abilities. Frank is, at times romantic and playful; sweary, definite and teenage the next – like the young woman battling through life and living the existence of a London-based Jazz heroine.

PHOTO CREDIT: Charles Moriarty

It is incredible, literally, seeing the way Amy Winehouse changed in the three years between album releases. A sweet-faced and, at times, shy star poured her heart out on her debut. We got glimpses of what was to come but, even at the start, a unique talent that British music was crying out for. The influence of the debut was Jazz and the heroines she admired growing up. Produced mostly by Salaam Remi; Winehouse shifted focus and plans when it came to the anticipated follow-up. Frank was shortlisted for the Mercury Music Prize and sold massively; it was a big hit but, in many ways, not the album Winehouse was truly capable of.

IMAGE CREDIT: Getty Images

Unwilling to simply bow to expectations and record a carbon-copy of that debut; Back to Black was going to be a very different-sounding record. Winehouse’s musical focus shifted to the girl-group music of the 1950s and 1960s; Sharon Jones’ band, the Dap-Kings, were hired to back her in the studio and on tour. Winehouse, like all the greats, was a perfectionist in the studio and would ensure every song was as honed and good as possible. Winehouse would play what she had sung in the studio in a taxi (a C.D. cutting) and got a viewpoint of how the public would hear her music. It gave her a very real and instant realisation of how her music would be experienced and perceived. By 2006, demo tracks of You Know I’m No Good and Rehab found their way to the U.S. – courtesy of producer Mark Ronson’s New York radio show – and there was a lot of excitement building. It is Ronson’s association and work with Winehouse that added new dimensions to the music and brought it to a wider audience. Ronson was keen to work with Winehouse because she, when they first met, was blunt and thought he (Ronson) would be older with a beard – and she didn’t like his stuff. That rather honest and straight-shooting personality intrigued Ronson and the two began a working relationship that would go right into Back to Black.

Ronson was doing things with the music that surprised Tom Elmhirst – who was brought it to help mix the record. Ronson was adding Beatle-esque stuff to the music and mixing/panning drums in a new way; bringing more out of the music and emphasising instruments in a way that had not been done on an Amy Winehouse record before. The growing and more confident songwriter dispensed with her Jazz influences and started to embrace R&B more wholly. A more mature and darker artist; songs looked at ill-suited lovers and the perils of heartache. We were seeing the transformation from a girlish, if sassy, artist into a more complex and tortured artist. The songs reflected a musician who was balancing increased attention with an everyday life – the stress, demand and performance alongside relationship issues and trying to find some downtime. Critics marvelled at her womanly vocals and lyrics that flirted and teased but had plenty of punch, tears and torment. The development and leap from Frank – in only three years – stunned many. Only four of the eleven tracks on Back to Black were co-written: three of its biggest hits were written by her alone: Rehab, You Know I’m No Good and Love Is a Losing Game. The stunning title cut was written with Mark Ronson – Ronson, alongside Salaam Remi, produced the album. It is interesting to see the split between the Ronson and Remi-produced tracks.

IN THIS PHOTO: Mick Jagger and Amy Winehouse performing on stage on the final day of the Isle of Wight Festival in 2007/PHOTO CREDIT: Getty Images

The Remi cuts had a softer, more Jazz-tinged sound. Although Winehouse had embraced R&B more by this stage; you can hear flavours of her debut on a few of the numbers. The Ronson numbers are bolder, more R&B-tinged and brassy. Many other albums might suffer this clash of worlds: Winehouse’s command and stunning songwriting ensured the album was a personal, fluid and cohesive effort. There was, naturally, huge attention and award chatter as soon as Back to Black came to the shelves. The sounds and fearlessness on Back to Black inspired songwriters like Adele, Duffy and V V Brown; Florence + the Machine, La Roux and Little Boots were taking note and would take Winehouse’s bold and stunning sounds to heart. It would not be an exaggeration to call Winehouse one of the most influential artists of this generation – her legacy is still being felt and so many young songwriters count her as their idol. In 2004, photographer Diane Patrice spent a day snapping the young Winehouse. Her recollections show the contrasts between the young star then (2004) and where she was by 2006/2007:

“Her voice, her face, and her features didn't match. She sounded like a 20-stone check-out girl, she sounded huge. It was a lived-in voice. The whole package was very endearing... a contradiction in herself,” Diane says”.

The photographer noted the state of her clothing and her living space:

“…In fact, the giggling photographer cannot get over the state of Amy's clothes: “Her skirt was absolutely filthy. She didn't give a damn that it wasn't clean... it stays with me because I never saw someone wear something like that at a shoot — I thought 'good on you, girl”.

PHOTO CREDIT: Diane Patrice/Whitebank Fine Art

Winehouse, during the shoot, was close to laughter and would take a phone call whilst she was being pictured. She was an honest and typical young woman living in London. The sense of disorganisation and shabbiness had a charm and working-class honesty that, several years later, would transform into something more toxic and troubling. The raising profile, combined with increased media attention, was affecting the anxiety levels and mindset of the musicians. She was being booed at gigs, around 2007, because she was noticeably intoxicated and nervous – some saw her drinking as the excess of fame; those close to her felt it was pressure-driven. The increased level of fame, demand for performance and media glare was having a detrimental effect on the star. She was being whisked between festivals and various countries; barely able to stand still and was struggling to keep hold of a more humble and secure lifestyle she had enjoyed pre-Frank. The days of playing in her flat and walking around London without a care were being replaced by huge gigs and constant focus. It was inevitable a heroine who took influence from Jazz icons – a genre known for doomed figures and a sense of tragedy – would suffer some of their fate. That might seem like a generalisation but, in my view, the constant tabloid focus regarding her love life and movements was creating needless strain.

IN THIS PHOTO: Amy Winehouse and her fiance Blake Fielder-Civil at the Coachella Music Festival in 2007/PHOTO CREDIT: Michael Buckner/Getty Images

Mounting controversies and substance abuse were derailing the artist and getting her name into the tabloids more and more. Winehouse was arrested in 2006 after punching a female fan – who had criticised her for taking Blake Fielder-Civil as a husband. Her associated with Fielder-Civil was creating a lot of tension. Although very much in love; it was apparent the influence and effect Blake Fielder-Civil was having on Amy Winehouse was causing more damage than good. The next few years seemed to consist of alcohol issues, self-harming and drug abuse; illness, inconsistent performances and troubles. The once-proclaimed and celebrated genius was becoming better-known for her legal and personal difficulties than her music. Crack cocaine and alcohol was taking hold and it was feared, unless big changes were made, the musician would not live long. There were gigs and performance from Back to Black’s release in 2006 and Winehouse’s death in 2011 – the fact there was not another completed album shows what impact drugs and drink had on her creativity. Amy Winehouse died on 23rd July, 2011 and sent the music world into mourning. Toxicology reports found she was five times over the drink-drive limit and that excess, impacting on a weakened and ravaged heart, dealt a fatal blow. Aged only twenty-seven – another genius star who became a member of 'The 27 Club’ – the brilliant artist was tragically cut short. The world had lost one of its finest musicians and most influential figures.

Rather than pour over her drink, drugs and relationship issues; it is not worth performing an autopsy and forensic examination seven years after her death. I blame the media and the pressures of fame for a death but, in many ways, Winehouse’s talent and brilliance created that popularity. She was a woman who wanted to play music and stay modest, real and humble – the same girl who grew up in London and drooled over Jazz legends and aspired to follow in their steps. The world of fame and constant media scrutiny is not what she planned for and her way of coping, sadly, lead to her demise. The shockwaves that greeted the news of her death shows how her short and brilliant career made a meteor-sized impression on the music world. Mainstream artists from M.I.A., George Michael and Lady Gaga paid tribute and revealed their heartache. Journalists, musicians and music lovers alike mourned the loss of someone who was primed to be an icon of the modern age.

The destructiveness and excess was a part of the complicated, challenging and beautiful soul that was Amy Winehouse. Her two-album career does a disservice to the full spectrum of her talent – posthumous releases collate material she did not complete and what-ifs from the artist. (It is well worth watching the amazing documentary, Amy (2015), to get an insight into who she was and why she was so loved). Today, as we mark her death; we also celebrate a brilliant career from an artist who was bold, brilliant and never boring! We have, in fact, never seen someone as accessible and fascinating as Amy Winehouse – I doubt we will ever see her like in this lifetime! Rather than dwell on the tragedy and loss; listen to the brilliant music (below) of Amy Winehouse and remember all the gold and glory…

PHOTO CREDIT: Diane Patrice/Whitebank

SHE gave to all of us.

INTERVIEW: Burning Velvet

INTERVIEW:

PHOTO CREDIT: Silas Risbjerg Terkelsen

Burning Velvet

___________

THE Danish artist Burning Velvet…

PHOTO CREDIT: Silas Risbjerg Terkelsen

has been talking with me about his new single, Fragile (released on 3rd August), and what it is all about. I ask what the music scene is like in Denmark right now and if he can reveal anything about his forthcoming album – Burning Velvet reveals which three albums are most important to him.

The songwriter discusses what he hopes to achieve before the end of the year; which artists he grew up listening to; whether there are going to be any gigs coming up; if we might see Burning Velvet play in the U.K. – he selects a great song to end the interview with.

____________

Hi, Burning Velvet. How are you? How has your week been?

I’m doing real fine. I am having a holiday from my day-job…so, I am having a good time with my family and playing a lot of guitar and writing new songs.

For those new to your music; can you introduce yourself, please?

Well. I have been performing under the moniker ‘Burning Velvet’ for about six or seven years now. Burning Velvet came into being just after I moved with my family from my hometown of Copenhagen to the small town of Svendborg. In 2016, I signed with the small Danish label Celebration Records. In 2016, I released a digital single and a vinyl 12” with two tracks recorded mono, straight-to-tape. In 2017, I released my debut full-length titled Night Light//Slow Grass as a double-vinyl L.P. (three-hundred copies) and also on streaming services worldwide. The album is written, produced and recorded in my home and is my own take on lo-fi Folk - with inspiration from traditional American music genres such as Bluegrass, Country-Folk and Blues.

Following the album release, I went on a large tour in Denmark, Germany and Switzerland; give solo shows alongside Long Tall Jefferson (Switzerland) and Poor Nameless Boy from Canada. After recording, mainly solo, I decided to make a new sound and I put together a band with my good friends and great musicians from Copenhagen. So, the current direction for Burning Velvet is less traditional and uses synths, female vocal and a whole bunch of other tricks.

Fragile is your latest single. Can you reveal the story and how the song started life?

Yes, that’s true. I wrote the first drafts on the song about two-and-a-half years ago. I was having a condition with my left shoulder, meaning it popped out of the socket every other minute. So, I had to get it stitched back together again and this meant many weeks of not being able to use both hands. So, I couldn´t work, play the guitar or anything much really. But, I have this old electronic ELKA organ with a cheesy rhythm section So, I could make the music on this using just my right hand. Back to the theme of the song…this little setback of mine made me think how fragile we really are and how quickly things can change.

In a broader sense, I just wanted to bring thought to changeability and that we should really appreciate whatever good we have around us. Things can easily fall apart – and, for the human race, I think that social cohesion is of very big importance as an agent of keeping a balanced world situation.

It is from your forthcoming album. Are there particular themes that inspired the record? What can we expect?

The record is titled LISTEN. That is meant in a wide sense of the word. Of course, I hope people will listen carefully to my music and, especially, I hope that my lyrics somehow will inspire thought for the listener. But, the title is meant to reflect that we all could benefit from listening as opposed to just hearing what is happening around us; that we should understand what really happens in the world before we judge or take action. I think a true understanding of the state of things is very often bypassed in these times - overflowing with information coming in large from the big social media platforms.

The songs Standing in the Sun (released in May) and Never Mind Me have been written with today’s children and young people in mind - and the need of keeping this planet a good place for generations to come. Also, a central theme in the songs is changeability and the responsibility of adults to keep peace and make the world a progressively better place for their children.

PHOTO CREDIT: RISBJERG.IN Creative Playground FB

As a Danish artist; can you tell me what the music scene is like there right now? Are there a lot of great artists coming through?

I think the Danish music scene is quite interesting right now. When I was young, most Danish bands did not really catch me. But, I think the scene has developed quite a lot the last ten-fifteen years. There is a lot of original, high-quality music coming out. There is a big underground scene with Punk kind of things; there is a good Psych-Rock scene and we have good Electronic names.

Also, where I live - in the small town of Svendborg (only twenty-seven-thousand) - we have a good music scene keeping up with around seven/eight-hundred live music events a year. I was a little anxious of moving from Copenhagen to a small town but Svendborg has proven to be a great music city to me. There are so many great musicians and people are very open and try new constellations.

PHOTO CREDIT: Silas Risbjerg Terkelsen

Which artists did you follow when you were growing up?

Well. At a very young age, I indulged in my father’s vinyl collection with The Who, Led Zeppelin; Jimi Hendrix, Neil Young; Lou Reed, Velvet Underground; Pink Floyd and all those '60s and '70s greats. I was a teenager in the '90s, so there was a huge development in the music scene when I was in high-school. But at the time I listened to Nirvana, Sonic Youth; Red Hot Chili Peppers and Primus.

Then came Trip-Hop and I was very much into Portishead, Massive Attack; Tricky and Morcheeba. I also was, and still am, a big fan of Morphine (from Boston in the U.S.). Calexico and Sixteen Horse Power; Mojave Three, Red House Painters; Dirty Three, Nick Cave; Giant Sand, Howe Gelb and those great American Recordings - Johnny Cash also influenced me quite a lot.

What do you hope to achieve by the end of 2018?

I am releasing my sophomore album and I hope to start recording my third album this fall. I already have songs for a couple of albums – they are taking in new directions. Also, I hope to get some good live shows.

PHOTO CREDIT: Silas Risbjerg Terkelsen

Do you think you will visit Britain this year at all? Do you like music from the U.K.?

We don´t have any dates in Britain as for now. I like a lot of the music coming from U.K. The Stone Roses are a favourite of mine - and all the Trip-Hop bands have had a great impact on me.

Will there be any tour dates? Where can we see you play?

Burning Velvet will be a special guest at the only Calexico (a U.S. band) concert in Denmark this year. That will be August 20th and we are playing a new very intimate festival in Denmark called Høst Møn in August. We are currently working on a getting a showcase at Reeperbahn Festival (in Hamburg) in September - that might be the show closest to Britain this year. Hopefully, we will get a chance to play somewhere in Britain in the future.

Have you got a favourite memory from your time in music – the one that sticks in the mind?

I have a lot of good and bad memories – but, what comes to mind first is when I was in my twenties and had a Trip-Hop band called Tibitinas. Young and full of hope, we went to Bristol with our three-song demo...hoping for Tricky or 3D to be hanging around the next corner and see our talent (smiles). Of course, that didn´t happen. But, we shopped around with our demo to all the small labels in Bristol and then went on to London.

We ended up in Glasgow where we met the drummer from Teenage Fanclub who liked our music and had a small label with a friend - and he was eager to put out our music. So, we rushed home to Denmark and made a full album. But, for some reason, nothing came of releasing in the U.K. and we ended up releasing it ourselves.

This might sound a downer of a story but, to me, it is a great memory of travelling the U.K. with my best friend and being all worked-up with our new sounds just taking in the world.

PHOTO CREDIT: Silas Risbjerg Terkelsen

Which three albums mean the most to you would you say (and why)?

The most important album to me would be Yes by Morphine

I heard them live in New Orleans and it was a very special evening seeing Mark Sandman - and me discovering the album at a very open stage in my life.

Sweetheart of the Rodeo or Easy Rider (soundtrack) by The Byrds

That introduced me to the Country genre, alongside Neil Young’s Harvest.

Also, the album Weld (live album) by Neil Young & Crazy Horse

It is just the greatest Rock record I know. Those guitar sounds are so great.

If you could support any musician alive today, and choose your own rider, what would that entail?

Neil Young would be a good bet. Including a chat with his guitar tech (smiles). But, supporting Calexico this August means a great deal to me. I have a been a fan since their first record, Spoke, so that is huge for me too.

As for the rider; a friend of mine told me it should always hold Prosecco (wine).

PHOTO CREDIT: Silas Risbjerg Terkelsen

What advice would you give to new artists coming through?

Make art! Put some depth into the art you are making. Play live whenever you can; write great lyrics, write great music and play with feeling to the best of your abilities.

Do you get much time to chill away from music? How do you unwind?

I have a full-time day-job, too; a family and two beautiful kids. So, playing and writing music is my kind of unwinding.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Sometimes, I play with my friend, Jeppe Højgaard. He is a very gifted musician playing Free-Jazz/Free-Folk. He makes some pretty artsy Folk. Give it a go if you have your ears open to something out of the ordinary

________________

Follow Burning Velvet

Official:

http://celebrationrecords.dk/work/burning-velvet/

Facebook:

https://www.facebook.com/burningvelvet/

YouTube:

https://www.youtube.com/channel/UC4OwiOh6UzW0kaXGQa_Pwyg

Spotify:

https://open.spotify.com/artist/4TGaI5C7Z4l8gSCOdQVaUj

SoundCloud:

https://soundcloud.com/burningvelvet

FEATURE: Cheeky Chaos and Bollywood Colour: Why the Club Night, Hungama, Should Be Taken to Heart in the Capital

FEATURE:

 

 

Cheeky Chaos and Bollywood Colour

IN THIS PHOTO: Revellers at Hungama/ALL PHOTOS (unless credited otherwise): Iolo Lewis Edwards  

Why the Club Night, Hungama, Should Be Taken to Heart in the Capital

__________

I keep saying how tormented and fractured…

the world is right now – even the sunshine and summer heat cannot distract the mind from the fact there are unending horrors and bad news. Even when walking around a city like London; the perfection of the sunshine and calm weather dulls into insignificance when you have to bustle shoulders and get crammed onto a sweaty and cramped Tube. One can go to a park to get some escape but, for the most part, those of us who are drawn to the city and its adventurous spirit are stressed more often than we should be. I learn something new every week I am in this job and am always being made aware of cool club nights and events happening around the country. I was reading a piece in The Guardian – I shall come to later – that looked at a club night, Hungama, and what its aim is: diversity and true togetherness. I feel the country is becoming less together and unified by the day: political movements and deceit are balkanising our nation into tribes and political cliques. We are far less spirited and ‘one’ as we have been in some years! If you look at those in the country who are most alienated and overlooked – you could easily put the Asian community into that camp. Camp, in fact, is being celebrated and recognised at the East London club night! I know there is a big Asian community in East London but, for the most part, there are particular areas with a large Asian concentration. The graph below shows the dissemination and spread of Asian members in the London community – you can see there is a large spread in areas north of the River Thames…not a lot going on further down south.

IN THIS IMAGE: The 2011 census shows the Asian (or those who identified as Asian) population in London/IMAGE CREDIT: Getty Images

The largest population of Pakistani and India residents is in the North East/West of the city: look further South and there are relatively few Indian/Pakistani Asians in boroughs to the south of the river. We know the white population of London is declining, as people move to quieter areas, but the total number of Asians in the city is very low – the 2011 census established around 18%. The Indian population is the largest representation of London Asians – knowing around one-fifth of a city’s population is Asian makes me wonder whether more should be done to assimilate Asian culture into London. There is a thriving and bustling Asian community in Brick Lane and the surrounding areas – I wonder whether we think too much as to why there is a larger Asian population in certain parts of London?! In any case; race and diversity are important areas we all need to address. I wonder, at a time when the nation is divided, the L.G.B.T.Q.I.A. Asian population feels more divided and ignored than most. I wrote an article a few weeks back exploring alleged racism – against black patrons – happening around East and South London. There is a definite door policy, at some clubs, to exclude black people who, to them, do not seem to fit with their ‘ethos’ – the wealthier, cooler and more attractive club-goer. London is among the most embracing and respectively of the L.G.B.T.Q.I.A. community but, with more clubs closing and others being gentrified, it makes Hungama a rarity that should spark the imagination.

I can only imagine the alienation felt in some parts of London. It is hard enough identifying as gay or bisexual – in terms of people’s reactions – but finding a space where you feel safe and understood is near-impossible for some. I will talk more about Hungama and why I think it should spread through London, and the nation, but I wanted to bring in an article that spoke with Hungama’s brainchild, Ryan Lanji.

“…The brainchild of London-based fashion and art curator Ryan Lanji, Hungama – which loosely translates to ‘chaos’ or ‘uproar’ in Urdu – was born after he noticed the lack of spaces and club nights allowing queer South Asian people the chance for their culture and sexuality to seamlessly co-exist. It’s also one of the only events in London to bring queer Asians together with the rest of the LGBTQ+ community, as they aren’t always one and the same.

“When I first moved to London eight years ago, I was very shaken in [LGBTQ+] spaces,” Ryan explains when I manage to grab a spare moment to chat with him by the bar. The club is heaving at this point, and we find ourselves having to shout over the music. “When you go to LGBTQ club nights, they can sometimes be fetishitic or kinky,” he continues. “The culture is very experiential and experimental. But this can be jarring for someone who’s grown up hiding who they are from their family, only to be thrust into a world where you can be anything you want”.

I am glad Lanji has recognised how difficult, even in 2018, it is for openly gay members of the Asian community have their voices heard and to find common ground in a busy and vast city. He is not gentrifying the L.G.B.T.Q.I.A. experience or trying to fit in with the surrounding area – Hungama is explicitly a vivid, vivacious and authentic slice of Asia. The Indian experience, and Bollywood, plays a big role. When asked why to go with the Bollywood theme; Lanji recalls his past:

“I used to be obsessed with Bollywood music but I’d left it to the wayside,” Ryan tells me, speaking about how it often feels like queer South Asians have to leave their culture behind once they come out. Ultimately, he hopes that attendees – a significant proportion of whom have come with their significant others – can dance to the music they grew up with alongside throwback chart hits, only this time with “our boyfriends or girlfriends and not wonder if we’ll ever get the chance to be loved for ourselves.” But he’s also keen to stress that Hungama is just like any other night in that it’s a place to let loose. “The night itself has organically become a party that celebrates being you, who you are, who you love and who you want to be”.

A survey from Stonewall found that over half of people of colour experience some form of racism in the L.G.B.T.Q.I.A. (or +) community. There is massive Islamophobia and racism, as the article explores, and it seems progressiveness and true acceptance is not as established – in the community – as it should be.

IN THIS IMAGE: The 2011 census shows the Indian (or those who identified as such) population in London/IMAGE CREDIT: Getty Images

There is discrimination and judgement from those alien to the L.G.B.T.Q.I.A. experience…let alone the Asian dynamic and flavour. Asian culture, in a way, has been a part of the British experience for a very long time. We are all aware of the Bollywood scene and there is, for the most part, tolerance and love aimed at the Asian population. The graph above shows where the concentration of Indian populous is located. There are huge swathes of the population where the Asian population is thinner and less visible. I worry there are very few spaces in London where the Asian population feel truly integrated and accepted. Apply that to those in the L.G.B.T.Q.I.A. scene and that experience is a lot lonelier and more fraught. The Guardian, when they reviewed the Hungama club night, gave their impressions:

“The night is held at Metropolis in Bethnal Green, London, which was recently converted from a strip club. It is set to run quarterly, with takeovers also planned for other clubs and bars across London. Having begun in a London pub in May 2017, then running a night in Shoreditch House, and now this, the growth is exponential. Lanji says the Metropolis booking is a personal milestone, as many of his formative clubbing experiences and explorations of queer nightlife were in east London.

A female clubber remarks that “there really isn’t anything else like this”. She has come to Hungama with a group of other South Asian friends, one of whom is having a dance off with a blue-faced drag queen (I suspect the reference point is Jadu, an alien from the Bollywood sci-fi movie Koi Mil Gaya). Chatting more, it turns out this was his first time at a queer night. To say he is as immersed as the performers is putting it lightly”.

The U.K. club scene has never really been mainstream – certainly not in recent memory. We all know about the big venues of London that cater to Rock, Pop and Alternative artists. What about those smaller clubs that host Dance music events or Techno nights?! The sphere and graph get smaller when we look at the Asian community and L.G.B.T.Q.I.A. members who want to express themselves and feel true identity. The clash between the day-time experience and sensation to that of the Hungama night – a violent and revelatory gulf that should act as an impetus to keep Hungama fuelled and playing; other clubs need to react and realise there is a clear call for more of the same. The white L.G.B.T.Q.I.A. are not short of options in the city regarding nightlife – compared to the Asian communities – but it can be harder for those used to a different culture and sound to feel belonging and comfort in certain clubs. Hungama does not pander or exclude anyone: everyone is welcome and there are, like in some clubs, barriers and objections at the door.

PHOTO CREDIT: Unsplash

We are a long way off seeing the L.G.B.T.Q.I.A. community find true footing and balance in London. More is being done to ensure nights like Hungama are in the press and starting conversations. I worry the black population is being excluded from a lot of clubs and forced to go outside of London or ensconce themselves in clubs specifically set up for the black community. My anxiety extends to the Asian population and, to a larger sense, those who want somewhere like Hungama on their doorstep. It would be good to see the night franchised and licensed throughout the city – making its way to other cities and areas of the nation. In any case; greater visibility and acknowledgement of the Asian community in general needs to happen. I still feel there is too much tension and divide in the city. Instead of dwell on statistics and separation; the vitality and celebration Hungama has provoked – even for those outside the Asian L.G.B.T.Q.I.A. community – has caught media imagination. The glamour and chaos; the cheekiness and reckless abandonment; bodies raptured and joyous in the sense there is freedom and no judgement – this is what we want to promote in London. Hungama is starting small but, already, it is recruiting those who feel, in normal life, they are not as assimilated into the city population as they’d like. 

Hunagama’s true aim is to welcome anyone in the community. Look at the photos from the club night and you will see white faces alongside Asian; those new to this type of thing and those who feel like it is second nature! That message is vital: this is not a night where only certain people can attend! That openness and community-conscious initiative cannot be overlooked or ignored. I hope it leads to more events/nights: it will help London create greater togetherness, at a time when there are so many racial tensions and fears. Maybe it will not happen overnight but, for those who attended Hungama; you can see how much it meant and the impact it had on them. At a time when there is endless bad news and stress getting to all of us; it is great to hear about a celebration of an event that is trying to bring happiness and dance to London. I hope the momentum builds and, before long, Hungama (or an equivalent club night), finds a home in…

EVERY corner of the capital!

INTERVIEW: Chantitown

INTERVIEW:

Chantitown

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WITH her E.P., Cause and the Cure…

out in the world; I have been speaking with Chantitown about the stories that go into it; what it was like working with Jim Hustwit; whether she grew up around a lot of music as a child – Chantitown highlights some new artists that are worth some serious time.

I ask whether we might see any tour dates coming through; Chantitown reveals a few albums that impact her in a big way; what she does to relax outside of music; what advice she would give to artists coming through – she picks a couple of great songs to end the interview with.

____________

Hi, Chantitown. How are you? How has your week been?

I’m hot…there is a heatwave in London which is amazing on the one hand as people are smiling but, on the other hand, we are clearly not conditioned for such heat in the city - dreaming of the coast as we speak! I’ve been recording my second E.P. in the studio. It’s been a good week.

For those new to your music; can you introduce yourself, please?

OK. I am Chantitown. I have just released my debut E.P., Cause and the Cure, and, if you have not experienced my music, I can try to sum it up by saying it will take you on an epic journey. I kind of cross genres so it’s hard to describe my sound, but it’s a fusion of percussion, guitar, strings and electronic sounds. It’s taking Folk and Indie roots and displaying it with my own fresh, contemporary twist. That sounds like it made zero sense. Forgive me; it made sense to me!      

Cause and the Cure, your new E.P., is out. Are there distinct themes and points of reference that influenced the songwriting?

I like to tell stories through my songs based on real moments - usually my own moments - but I tell other people’s stories, too. Themes on this E.P., I would say, include reflection, acceptance and letting go.

Is it easy, when recording an E.P., to look from the outside and watch it all form – or are you completely immersed and only really take it in at the very end?

I am passionate about telling a story: I get fully immersed but it’s not aimless without direction. I know exactly where I am heading with a song. Sometimes, I am surprised where is leads me but most of the time I know where it’s heading.  I’m not a control freak, just clear on my vision.

What was it like working with Jim Hustwit on the E.P.?

It’s amazing working with Jim. He is ridiculously-talented. I am really fortunate he was able to work with me. Not only does he share my wicked sense of humour (I am surprised we get any recording done with all the laughing) but he actually understands me and all the weird sounds in my head that keep me up at night. I don’t think I would have produced this E.P. in quite the same way without him. I will be forever grateful we crossed paths.

Did you grow up around a lot of music? Which artists inspired you when you were young?

Gosh, yes! I had such a passion for music. My mum was a walking-radio with no ‘off’ button: she never stopped singing so, yep, I grew up around a lot of noise! By the time I was in high-school, my dad upgraded us from terrestrial T.V. to satellite; I was hooked on MTV and VH1. I listened to absolutely everyone from Nirvana to Janis Joplin. The million hours on Unplugged, watching The Cranberries, Eric Clapton; Alanis Morissette and Pearl Jam. The list is endless.

In terms of songwriting; Carole King, Stevie Nicks; Tracy Chapman and Joni Mitchell all fuelled my hunger for writing songs that had meaning and depth. It helped me refine my own style. On the other end of the spectrum, I also listen to Jay-Z, Biggie Smalls and Tupac; so I’m mean at rapping…like, seriously good. Ha! I am constantly inspired, daily.

How important is your heritage and parents regarding the sort of sounds you like and how you approach music?

I was born and raised in London but my parents’ roots lead back to India and East Africa. I think my love for percussion and certain sounds come from the music they played whilst I was growing up - and you can hear subtle hints of this in certain songs. My dad also liked Bob Marley and The Beatles, so there was a lot of good music to appreciate.

What do you hope to achieve by the end of 2018?

Sell-out Wembley!

Bad joke…I would be happy to sell out a caravan! To establish myself further and keep writing and producing songs that are authentic and take people on a journey. I will have my second E.P. out towards the end of this year which I am excited about So, lots to look forward to.

Will there be any tour dates? Where can we see you play?

There will be tour dates - and I can’t wait. I am still recording and have not established these yet. My social media and website will keep anyone who cares in the loop!

Have you got a favourite memory from your time in music – the one that sticks in the mind?

Yes. This one…releasing my E.P. Seriously; I have been writing songs since I was thirteen and have many fond memories relating to music, but recording this album has been the most rewarding and humbling experience.

I have had to take a look at myself in the mirror (with no make-up!) on more occasions than I wish to and have confronted difficult times in the process. I have laughed, cried; tripped over and knocked my head (for real) and everything in-between. I am proud of myself for getting this far: anything more is a bonus.

Which three albums mean the most to you would you say?

Are you kidding me; just three?! I could easily name thirty but I will do my best with three purely based on how I am feeling today. I am sure it would change tomorrow.

Tracy Chapman – Tracy Chapman; Lauryn Hill - The Miseducation of Lauryn Hill and Joni Mitchell’s Blue. They all represent different times in my life and their work is just exquisite.

 

If you could support any musician alive today, and choose your own rider, what would that entail?

All three artists I mentioned above are alive!

What advice would you give to new artists coming through?

I tell myself to make sure you can look in the mirror and say to yourself “I did everything” whatever the situation, whatever the outcome. That’s all we can do; to give it our everything.

IN THIS PHOTO: Laurel/PHOTO CREDIT: Andrea Mae Perez

Are there any new artists you recommend we check out?

Artists I have stated to follow include Laurel, Låpsley; AURORA, Novo Amor; Arctic Lake, Billie Eilish; Daughter, Charlie Cunningham…I could keep going.

IN THIS PHOTO: Låpsley

Do you get much time to chill away from music? How do you unwind?

I am on the run all the time - in a non-criminal way! I like yoga and surfing when I can find the time. Being with my girlfriends; taking a long bath being immersed in Himalayan salts. Ha! I love the English countryside and take every opportunity I get to escape the smoke. There is nothing like the smell of fresh manure to make you feel alive!

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Aww. Well thank you so much for playing my songs! I can only choose one song…ok. I will say Låpsley - Falling Short and Minimum by Charlie Cunningham. Dammit, that’s two!

________________

Follow Chantitown

Official:

https://chantitown.com/

Instagram:

https://www.instagram.com/chantitownmusic/

Facebook:

https://www.facebook.com/chantitownmusic/

Twitter:

https://twitter.com/chantitownmusic

YouTube:

https://www.youtube.com/channel/UCMeg8lDbWSnKSqmIhhqwTpA

Spotify:

https://open.spotify.com/artist/2Jxbo8wmx3XX4Fm99XvDUl?si=Grh4ztUOQByG6PrtOE0Zlw

SoundCloud:

https://soundcloud.com/chantitown

INTERVIEW: Rumours

INTERVIEW:

Rumours

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IT has been pretty cool speaking with Rumours…

about their sound and the new single, Tell Me What You’ve Done. I discover how the band got together and whether they are looking ahead in terms of more new material; whether there are tour dates coming up – also, which new artists we should get behind.

I ask them if they have any ambitions to achieve before the close of 2018; whether the members all share the same sort of musical tastes; if they get time to unwind away from music at all – they provide some great advice for artists coming through.

____________

Hi, guys. How are you? How has your week been?

HEY! We’re very good, thanks! This week’s been pretty exciting, actually! Just played an awesome Sofar Sounds last night and now we’re getting ready to shoot our new music video in Dorset this weekend.

For those new to your music; can you introduce yourselves, please?

Sure. We are three friends, musicians; artists and food lovers based in London. This ‘adventure’, Rumours, started about three years ago. Our sound is still evolving and it’s a bit hard to pigeonhole – but, often, people refer to it as 'Electronic-Soulful-Pop'.

Even though us three still are at the very core of the project, the family has recently grown and we are now six musicians on stage during our live shows. We had the pleasure to play in many good venues and events in the past couple of years - so, it has been a great journey so far!

The single, Tell Me What You’ve Done, is new. Can you reveal what its story is? How did the song come together?

The song came about while we were all living together in North East London about a year ago. Mark had a piano by his bedroom window looking over the street and, since it was pretty hot at that time of the year, he would often look for ideas at night - that might help give the track a bit of a mysterious flair. Hahah. The meaning of the song is a mix of personal experiences and pure imagination, really.

Did the fact the song received such praise when played live compel you to get it released as a single?

Absolutely. We almost thought of not releasing the track at all: we had it sitting there for quite a while and probably, as it often happens, our ears were getting a bit tired of it. But, as soon as we started playing it live, people were really feeling it and we had great feedback after our gigs. So, we thought that it would have been rather stupid not to release it. Haha

How did Rumours get started, as it were? When did you find one another?

Mark and Fede grew up together in a small city in Italy, then moved to London and met Marion at uni; did a couple of gigs together and decided to start a project that could embody our different personalities and musical influences.

Are you looking ahead to more material - or do you take it a song at a time?

The further ahead you’re able to plan the better. We have a good amount of material waiting to be released at the moment. We keep on learning how to improve; being more organised and efficient as we go along. We definitely appreciate that having a clear idea of what’s gonna happen a few steps ahead is always better.

The band is composed of different nationalities and personalities. Do you all have, roughly, the same sort of musical tastes? Which artists did you all grow up with?

It’s quite fair to say that, just like our personalities, our musical tastes are quite different and various. Fede’s a massive fan of The Roots and he’s really into Electronic music and Hip-Hop; while Marion’s musical background leans a lot more toward Folk-y singer-songwriting and Ambient music.

What do you hope to achieve before the end of 2018?

We want to release a lot of music and do it and consistently in order to reach a wider audience. We also want to be proud of anything we do, no matter the outcome.

We want to expand our team as much as possible: it’s our understanding that being independent could be the right way to go at it nowadays, but to do so successfully you need to be able to surround yourself with a lot of passionate and reliable allies.

Have you each got a favourite memory from your time in music – the one that sticks in the mind?

We surely have more than one. Probably going abroad to play has been some of the most fun and thrilling experiences. Playing to a sold-out Parkteatret in Olso and getting on the bill at Dimensions Festival in Croatia will always be precious memories to us.

If you could support any musician alive today, and choose your own rider, what would that entail?

Loads of premium gin?! Hahah. Marion would probably ask for a lot of healthy and hardly accessible food, though (smiles).

What advice would you give to new artists coming through?

Listen to other people’s advice, but also remember that music is a very subjective matter: when you really feel something is right, don’t be afraid to go for it.

Where can we see you play? Do you have any gigs approaching?

We are currently planning our next headlining gig here in London. We’re thinking around October, so keep an eye on our socials (smiles).

IN THIS PHOTO: Octavian

Are there any new artists you recommend we check out?

We really like Octavian and he’s rising very quickly, so he’s surely one to keep an eye on. Also; DRAMA is a very interesting duo from the U.S.; then jadu heart, who also have both female and male lead vocals just like us!

IN THIS PHOTO: jadu heart

As you are called ‘Rumours’; do you have a secret/rumour about another member of the band – or do you have a favourite rumour?

Hahah. Not sure we can reveal each other’s secret here - not if we’re to keep a peaceful relationship between each other. There’s a rumour going around that you would send a bucket of beer to the funniest interview...is that true?!

Do you get much time to chill away from music? How do you unwind?

It depends on the time of the year. There are months where music is all we breathe, eat and dream of at night but, to be honest, this summer is quite good, distraction-wise.

Fede is developing his passion for sailing; Marion’s becoming a fitness machine and Mark’s loving the fact that he’s got a garden for the first time.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Nice. Thank you! So; we’ll go for Constant Surprises by Little Dragon

Little by Octavian

The Big Unknown by Elder Island

________________

Follow Rumours

Official:

http://www.allaboutrumours.com/

Facebook:

https://www.facebook.com/rumoursmusicuk/

Instagram:

https://www.instagram.com/rumoursmusicuk/

Twitter:

https://twitter.com/TweetRumours

YouTube:

https://www.youtube.com/channel/UCENaAPgmn0LwlV4vzJhhu4g

Spotify:

https://open.spotify.com/artist/5bO42TbrMZJkPV49ULoQON

SoundCloud:

https://soundcloud.com/rumoursmusicuk

PHOTOS: 

Will Freeman

INTERVIEW: Delta Will

INTERVIEW:

Delta Will

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I have been speaking with Charles of Delta Will…

about the band’s latest single, Nothing Is Enough. He talks about the upcoming E.P., Multitudes 1, and mixing a lot of different sounds together; how the band got together and started life; what Toronto is like as a base – I ask if there are any upcoming artists we need to look out for.

Charles talks about touring and reveals whether a U.K. trip is a possibility; how he spends his free time away from music; whether the band all share musical tastes – he ends the interview by selecting a rather good song.

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Hi, guys. How are you? How has your week been?

Charles: Hot! It’s been seriously hot here in Toronto, though it seems to be letting up a little today.

For those new to your music; can you introduce yourselves, please?

Delta Will is a band that would cook breakfast for you and bring you flowers out of the blue. We call our music ‘Existential Pop’.

Nothing Is Enough is your new single. Can you tell me how the song came together and what inspired it?

I wrote Nothing Is Enough as part of a friends’ songwriting challenge in which a bunch of us had to post a new song to a group thread every week. Most of those songs never made it beyond that thread, but this one felt good immediately and I eventually took the demo to the band and we started working on the version of it you can hear today.

I wrote it in a fairly stream-of-consciousness manner so it’s pretty hard to say exactly what inspired it, though it does grapple with the notion of perpetual happiness and living in a world where little screens are constantly feeding our wants and desires.

It is from the Multitudes 1 E.P. It seems like you embraced a lot of sounds and new directions on the E.P. Would you say that is true?

Embracing many different sounds isn’t really new to us. It’s sort of been the Delta Will M.O. from the start. I did find myself listening to a lot of Neo-Soul and modern R&B while I was writing these songs but also a bunch of minimalism and film music. It’s hard for me to parse out exactly what influenced what but, in short; yes, we’re always embracing new music.

How did Delta Will get together? When did you meet one another?

I started Delta Will as a solo bedroom project in 2011. Once I started recording the second E.P., It All Glows, it occurred to me how much I missed the energy and comradery of making music with bandmates and asked some musically-inclined friends to join me. I had met Milan through a video series he directed of bands playing on Toronto streetcars and I met Brandon from playing in mutual friends’ bands. Our drummer, Kevin, is the latest addition and we enlisted him after everyone kept telling us how great he is.

They were right.

Do you all have similar musical tastes? What sort of stuff are you all into?

Everyone’s taste is pretty eclectic. If I were to overgeneralize, I’d say I’m the lone Folk music freak and everyone else is more into Dance music. Everyone can agree that Khruangbin is pretty great (see below).

Toronto is where you are all based. How important is the city? Is it an inspiring place to make music in?

Toronto is absolutely littered with talented musicians. It’s certainly inspiring in the sense that great music is happening all around you at all times. It’s also a booming city where rent is becoming astronomically expensive and artists are slowly but surely being pushed out. Pros and cons.

Do you think there will be touring dates? Can we catch you on tour?

Absolutely. We’ll be touring in Canada this fall and those dates will be announced very soon.

Might you come to the U.K. and perform at some point?

Yes! We’re hoping to cross the pond next year.

If you could support any musician alive today, and choose your own rider, what would that entail?

I’m going to preface this by saying that ‘any musician alive today’ makes it very difficult. I’m terrible at picking favourites. That being said, I’m going to go with Wilco because I’ve met them and they’re really nice guys - and I’ve loved their music for so long.

Our rider would consist of freshly-baked chocolate chip cookies. Just cookies.

IN THIS PHOTO: Kira May/PHOTO CREDIT: Adnan Khan

Are there any new artists you recommend we check out?

Kira May, Saxsyndrum; Drago Dit Dragon and Sara-Danielle. Two of those might be our label-mates.

IN THIS PHOTO: Saxsyndrum/PHOTO CREDIT: Tess Roby

Do you get much time to chill away from music? How do you unwind?

I never underestimate the importance of chilling. Lately, I’ve been reading Infinite Jest under a tree in the park and going for bike rides.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Friday Morning by Khruangbin, please!

________________

Follow Delta Will

Official:

http://www.deltawill.com/

Twitter:

https://twitter.com/deltawillmusic

Facebook:

https://www.facebook.com/deltawillmusic

YouTube:

https://www.youtube.com/channel/UCI27SfQLsSnnQsPl68pYxww

Instagram:

https://www.instagram.com/deltawill/

Spotify:

https://open.spotify.com/artist/0WaYwZ85oibQgSZtRRxxei

SoundCloud:

https://soundcloud.com/delta-will

INTERVIEW: Tyler Hilton

INTERVIEW:

Tyler Hilton

___________

THE tremendous Tyler Hilton…

has been chatting with me about his latest single City on Fire, and what its story is. The track is taken from the songwriter’s album of the same name (due out in the autumn). I ask the U.S. songwriter about his acting work and the importance of performing and writing in Nashville.

Hilton discusses performing in the U.K. (the interview was sent out before he embarked on a small tour of the U.K.) and whether he has any ambitions to fulfil before the end of the year; which three albums he ranks as favourites – he recommends a musician we should all spend some time listening to.

____________

Hi, Tyler. How are you? How has your week been?

I’m happy and tired - and this last week feels like it’s lasted a whole month. Haha! But, I’m in a different country every day right now and, when I should be sleeping, I’m cramming in lots of sightseeing!

For those new to your music; can you introduce yourself, please?

Probably best to search me on Spotify and hit ‘shuffle’ - I’m always unsure how to describe my sound. I’ve been writing and singing since I was young. I come from Southern California and was raised on Folk music in a family of musicians, so I’m influenced by a lot of stuff!

 

City on Fire is new. What is the story behind the song?

It’s a murder-ballad about a man losing everything and struggling with revenge. To me, it’s a metaphor for a lot that’s being lost right now and our reaction to it.

Might we see some more music come before the end of the year?

Oh...I think you definitely will (smiles).

I get a feeling Rock and Country and important genres. What sort of music are you into? Did you connect with music quite young?

I connected with it super-young. Elvis (Presley) was my entry into everything: Blues, Gospel; Rock and Country. Then, from there, I found favorites in each genre and just became obsessed with them for different periods when I was building myself. Filming Walk the Line felt like I was getting to bring all those pieces together.

I understand you have roots in Nashville. How important is the city to you? Is it where you feel at your purest and best?

Yea. Nashville is a very important character in my life and this new record. Charles Kelley and Dave Haywood from Lady Antebellum used to be my roommates down there. It was those good times that led Charles and I (to wanna) chase that again on this record!

How does your acting work tie with your music? Is there an acting role that stands out to you?

Being in movies is a blast. I love acting. I love being part of a whole new world. It’s like a vacation from myself. I get such good perspective stepping into a life that isn’t me. I think it has helped my writing, for sure.

Hard to top playing Elvis for me, though.

Will there be any live dates coming up? Where can we catch you perform?

Check TylerHilton.com for dates. I’m touring all year!

You’re coming over to the U.K. Do you like British music?

Yes - and I love their taste in music. Some of my favorite artists have found audiences with the Brits when no one else was getting it.

Do you have any ambitions to fulfil before the end of the year?

To be home as little as possible. Haha! The new record’s done and I wanna play this thing for people!

Have you got a favourite memory from your time in music – the one that sticks in the mind?

Opening for Keith Urban and John Mayer was insane to me. The three of us together was my dream show! I love both their music and feel like I’m somewhere right between them.

Which three albums mean the most to you, would you say?

Muddy Waters’ I’m Ready; Bob Dylan’s Another Side of Bob Dylan and Blake Mills’ Break Mirrors.

What advice would you give to new artists coming through?

Keep writing bad songs: they might not be as bad as you think. Don’t just try and write ‘good’ ones. I feel like the part of us that judges can be bullsh*t.

IN THIS PHOTO: Blake Mills

Are there any new artists you recommend we check out?

Blake Mills has two records out and I have become obsessed with both!

Do you get much time to chill away from music? How do you unwind?

I walk a lot, watch movies; read, hang with people; talk a lot of sh*t and laugh a lot, I guess?! (Smiles).

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Blake Mills - It’ll All Work Out

________________

Follow Tyler Hilton

Official:

https://tylerhilton.com/

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YouTube:

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FEATURE: Rage Against the Meninists: How Simple Unity and Agreement Can Lead to Big Changes

FEATURE:

 

 

Rage Against the Meninists

PHOTO CREDIT: Unsplash 

How Simple Unity and Agreement Can Lead to Big Changes

__________

THE title of this piece…

PHOTO CREDIT: Unsplash

is, in addition to being a bit of lazy wordplay, reference to those, men for the most part, who call themselves ‘meninists’. That might sound like an ancient sect or religious cult but, in simple terms, it is those who propose greater rights for men and highlight the male movement: the male equivalent of feminism/gaining equal rights for women. It is a rather unsettling and petty movement that throws its toys out of the pram and rebels against feminism – many men see them (women) as po-faced, judgemental and keen to blame men for all issues. I will come back to that in a minute but my mind has remained settled on gender and sexual equality for some time now. I will allude to sexual assault and consent in music – men taking advantage of their power – and how the issue is not going away. I raised a point on social media that garnered interesting feedback: Is it strange or ‘too much’ for a man to raise awareness and show a feminism flame at a time where there are few men speaking out and writing about the issue in music?! There are plenty of sites (like this) that shows what sexism there is and how many men are out of step with progression and equality.

I understand men have a hard time in the world and go through the same stresses and doubts as women: body images and mental-health problems; struggles for recognition and woes. This article highlights the perspective of a self-appointed and anointed meninist:

“Consider mental illness, and how we deal with emotion. While women are encouraged to 'open up' and discuss issues with friends, men are told to 'man up,' and to hide their emotions. According to the mental health charity Mind, the consequence of this is that men 'are often discouraged from expressing 'softer' emotions' leading to 'barriers to good mental health'. Mind also suggests that the public are 'more prejudiced against men with mental health problems than women.' Considering the difficulties that gender stereotyping presents to men, the statistic that men are three to four times more likely to commit suicide than women no longer seems so surprising…All of these issues have a common cause; the idea of masculinity and how we have defined what being a man is. Just as feminists point to the limitations of an effeminate personality, we must highlight the injustices of the inflexible masculine mould that we are expected to fill. It is not about granting men the freedom to adopt an effeminate personality if they wish, it's about having the sense to realise that a gender can't have a personality. That to tie a gender to a personality trait is no less ridiculous than associating a personality trait to an ethnicity, sexual orientation or nationality”.

I agree, to an extent, there are a lot of issues men face and they shouldn’t be ignored. Creating a movement emphasising male rights laughs in the face of feminism and mocks what it is about. I raised these points because a lot of this attitude is still present in music. Before I move on and raise some points of my own; a few further words about meninism and how it is tainting the waters:

“That seems to be the message of Mike Buchanan, leader of political party Justice for Men and Boys, which has the alliterative and depressing goal of ‘fighting feminism’.

His main points appear to be that feminists are “hatchet-faced miserable women”; it’s not really a proper sexual offence to "pat someone’s bottom"; and he’s “not aware of a single area where women are disadvantaged relative to men.”

In other words, he’s a sexist idiot who’s too busy moaning inside his man cave to see the world for what it really is.

But somehow, Buchanan is not alone. His puerile nonsense is attracting supporters. Other men’s groups and movements are sprouting up, claiming they're being victimised by society”.

You need only look at products and advertising to see how sex and the sexualisation of women is creating problems and sending out bad messages. There is a clear divide between the way men are promoted and seen and how women are portrayed! In the music industry, there are two big concerns that affect me: the imbalance and surfeit of chances open for women; sexualisation and inappropriate behaviour that is being brushed off as ‘okay’ and ‘acceptable’. There are, believe it or not, deliberately provocative articles like this that make light of feminism and the #MeToo campaign. Andy Shaw, writing for Spectator Life, provides 'steps' in order to become a 'male feminist'.

PHOTO CREDIT: Unsplash

His useful 'steps' include tips on how to 'look at a woman':

"Feminists have discovered that sometimes men are sexually attracted to women. Men become aware of the physical attributes and characteristics of a particular woman and they are enticed. For example, a man may appreciate the elegant curve of a woman’s neck, the way she laughs or smiles, or a man may have noticed the outline of a woman’s breasts as she scanned his avocado at Waitrose. Historically, women have sometimes found the physical attributes of men attractive too.

However, it is important to understand that sexual attraction is demeaning and that lust is the modern sin of ‘objectification’. When you experience feelings of sexual desire, you are unconsciously negating the personality and achievements of the woman in question. In doing so, you belittle all women with a single glance.

To become a FeMan, you must recognise that women’s bodies are not objects and therefore that women are not, in fact, physically attractive to you. If you find a woman sexually attractive, ask her to put a paper bag over her head. She will become relaxed and appreciate your considerate approach."

PHOTO CREDIT: Unsplash

One other gem that is shared - after talking about how to have sex with a woman and how to talk to them (in that order) - discusses how to 'understand working-class women':

"Help feminists to make women aware of their suffering. It has been discovered that the most oppressed women are arts advisers, media executives, actresses, newsreaders, Guardian journalists, bloggers, charity and NGO executives, as well as female Members of Parliament. Support the fight for senior female BBC executives to be paid higher wages. Empathise with Holly-wood actresses who suffer the indignity of ‘glamour’ from an insatiable media in exchange for mere wealth and fame. As you gain confidence, shame those women who take jobs as ‘hostesses’, or ‘darts girls’. Try tweeting #BadWoman every time you see a woman who is displaying signs of unconscious misogyny. ".

This is how some media outlets and writers view important campaigns and feminism: to mock and make light of something that is incredibly serious and looking for support (I would quote more of the piece but it makes me somewhat angry!).

PHOTO CREDIT: Unsplash

The pay divides we have seen at the BBC has started conversations and sparked a lot of debate. Progress is coming but it is going to be an awfully long time before real pay equality comes about. I am hearing the same sort of stories come through in music. I hear stories of male and female bands playing gigs – in similar-sized venues – that get paid differently. Take into consideration experience and popularity and, even when that is factored and levelled, you get a disparity. I hear stories of female artists being paid less than male for no real rational reason. The pay divide might not be as severe as the BBC but look at the statistics. I will bring in a couple of articles in a bit but I want to return to a point I mooted early – whether it is strange for a male journalist to fight against sexism and see themselves as a massive feminist?! Everyone should be a feminist but there are nerves and hesitations (for men) to call themselves that and make that declaration. I can understand why they would not want to attend protests and be THAT involved – it makes little sense ignoring the problems we have and identifying with women. Music is a meritocracy and should be based on talent and ability. It is not a case of needing extra physical strength or qualities exclusive to men.

The only reason there are more male producers out there and more male artists at festivals is because of attitudes and problems that have not been addressed. I posed the question on social media and the general response was supportive (of feminism) but I wondered why mainstream male journalists spent so little time talking about women’s rights and asking why there is not equality in music. Maybe there is hesitation speaking up and being perceived as clueless or less educated on the subject – you do not need education and special knowledge to realise the facts and empathise. A lot of newspapers have remits and limits; they have their particular style and address certain things – it is harder being autonomous or rebelling against rigid strict editorial rulings. I will touch on this in the conclusion but, correcting my argument with the BBC pay gap/pay issues in music it seems, at labels at least, there are glaring problems:

“Across the board, the gender pay gap is significant, averaging 33.8 per cent overall, with 29.8 per cent at Universal, 22.7 per cent at Sony and 49 per cent at Warner.

With regards to bonuses female executives make 49.2 less at Universal, 45 per cent less at Sony and an extreme 82 per cent less at Warner.

Bonuses are about evenly distributed by gender at Universal and Sony, but there is 11 per cent less women get bonuses at Warner.

...In comparison to the BBC wage gap difference of 10.7 per cent that caused outrage last October, the difference in pay by gender at major UK labels is much more alarming.

But the gender pay gap at the labels remains smaller than international bank HSBC, which was determined to have a 59 per cent difference”.

On the subject of festivals; equality is a big problem and most of the biggest festivals here still put male artists first. There are a few that highlight female artists and put them first. From Coachella’s line-up this year to ESSENCE Fest and FORM – so great to see women put in headline slots and given big props. Although the article highlights a few festivals where women are top; only one of them (Essence Festival) gets it properly right and seems to redress the balance! The piece did highlight issues this year and artists striking out:

“This gap is even more striking in 2018. The highly-anticipated Wireless UK festival was recently slammed for their lineup consisting of three women: Cardi B, Mabel, and Lisa Mercedez. In the words of Halsey, "It's 2018, do better!" Why aren't women headlining these festivals? While we're still awaiting 2018 announcements from a few generally balanced shows (Made In America, Full Moon, etc), here are a few recently announced lineups aiming to decrease the gender parity gap”.

IMAGE CREDIT: Getty Images/@lilyallen

Maybe you see it as feminism or perhaps you argue the quality argument – male bands and solo artists get more love and popularity. The thing is…that isn’t true. I can name artists like St. Vincent and Beyoncé who one would expect to be top of the bill when Glastonbury start organising next year’s headliners. They could have two female headliners and not see the world end – I worry there will not even be one when we see the 2019 line-up. Madonna has been mooted but I fear Emily and Michael Eavis will wuss-out and go for an all-male line-up. Equality has been promised for 2022 but I wonder why quicker changes are not coming in. Female-only stages have been established at some festivals but, as this article suggests, that does not erode and reverse music-industry sexism:

“Rinse FM DJ Emerald, one of the stage’s two hosts, acknowledged that the move could be seen as papering over some rather significant cracks. “But what are we going to do?” she said. “Not have that stage there and have no women performing at the festival? I don’t think that’s the right thing to do.”

It’s not the only issue for festivals. Earlier this year, girl band Haim said that they had sacked their agent after finding out a male artist had been paid 10 times more than them for a similar slot. “It’s scary out there … it’s fucked up not even to be paid half the same amount. But to be paid a 10th of that amount of money? It was insane,” said guitarist and vocalist Alana Haim.

IN THIS PHOTO: Lily Allen/PHOTO CREDIT: Getty Images

Recent figures also indicate that about one in five attendees of festivals in the UK have been sexually assaulted or harassed. It’s clear that festivals, whether for performers or attendees, are not always welcoming places for women. Sexual assault and harassment is obviously a fraught and complex issue to tackle; ensuring that headlining acts are diverse should be much simpler”.

A lot of comments after the article argued we do not need ‘quotas’ and pandering. They argued it should be about quality and not (needlessly) having an equal split. The problem we have is not with a pointless quota and making concessions: the quality is out there and festival organisers are being lazy and not looking beyond what’s in the charts or the big bands out there. There was hostility and argument when Foo Fighters and Ed Sheeran played Glastonbury; there have been eyebrows raised when Fall Out Boy and Kings of Leon were announced as headliners for Reading and Leeds – how is that placing ‘quality’ over gender equality?! If the bands/artists were sh*t-hot and great, you could cut some slack – we have rather worn and outdated bands headlining when the slot could go to female artists who are more potent, fresh and appealing. One comment from/under the article I just quoted did seem to drill down to the nub:

“Seems fairly simple to me...

Book a variety of acts, not simply going by whoever is popular, because many festivals goers actually like discovering new music. Find some relative unknowns who are unique and/or very talented and give them a decent shot. The crowd will appreciate it.

 IN THIS PHOTO: Florence Welch (Florence + the Machine), who one would expect to be among the frontrunners regarding Glastonbury's 2019 headliners/PHOTO CREDIT: Elle Italia

Don’t make it a complete sausage fest, for the sake of variety as well as diversity. Female vocalists obviously sound different from male (unless you abuse formant shifting effects, or are the reincarnation of Prince). This is not a disadvantage.

Find appropriate slots for your acts across all stages and tents. There’s no need for a women’s stage”.

Don’t worry about quotas, just be sensible.

Don’t pay female acts peanuts, pay them for what they bring to the experience”.

It seems there a split in the public between keeping things as they are and affecting change. It is still too often the case women – artists and public figures speaking out – when men should be adding to the argument. Another article, by a female journalist, highlighted more facts:

“A 2015 study done by The Guardian shows that, when analysing 12 UK festivals, 86% of advertised performers are men, and female artists and female fronted bands only made up about 5 – 7% in general. Three years down the line and not much seems to have changed. The music world seems to flourish with female acts, and yet, this is not reflected by festival bookings.

Of course, I have heard the argument that “female artists just don’t attract as many fans” or that “female bands aren’t as good”. Yet, those opinions just do not seem to match up to the current climate of the musical landscape.

In a year where there is not a single white man nominated for a Grammy for Best Album, maybe it is time to accept that the male dominance and subsequently sexist values of the music industry do not and should not hold up in this day and age”.

IN THIS PHOTO: Olga FitzRoy/PHOTO CREDIT: Blake Ezra

I will end with my opinions and why more male journalists and men out there should show greater motion towards feminism – becoming more active and protesting against the glaring sexism and troubles in the industry. We have already seen how festivals are still hopelessly bowed towards men and how the pay divide is putting women below men. Before I move on to sexual assault; let’s have a look at studios and the issues that arise there:

“There’s also the issue of the working conditions in the music business, which normally involve long, unsociable hours—even more of problem when women become mothers and have to balance their family life with work. Fitzroy says this is something she was worried about before becoming a mum. “Being freelance, I have got a bit more control of the hours that I work than I did when I was employed as an assistant, and in a way it’s quite good because it forces me to be a bit more choosy about the work I take on. At the moment, I think the balance is working out OK, but the hours I work are so varied, and my son is constantly changing. I know I can’t be complacent about it. I think it will always be a challenge.”

(Olga) Fitzroy notes that the lack of female producers and engineers is something that can only harm the industry if it continues. “If 50% of the population don’t feel that they can even take an interest in this subject, then you must be missing out on some talent,” she says.

IN THIS PHOTO: Catherine Marks/PHOTO CREDIT: Getty Images

Award-winning producer Catherine Marks took drastic measures in an attempt to be taken seriously when she first started out, eliminating all traces of her femininity in the recording studio with a radical makeover. “I cut off all my hair because I didn’t want people to look at me in a certain way,” says Marks. “The fact that I thought I had to do that—that’s ridiculous. Or I’d wear really drab, boyish clothing. No one said that. I don’t know whether that made a difference, but it definitely made me more determined”.

You do not need to look too hard to know there is sexual abuse and assault happening in the music industry. Someone who commented on my Facebook post, Vanya (a U.S. musician), gave her experiences of being a woman in the music industry – and how she has faced issues; what we need to do to tackle problems:

“Dealing with the event happening
Dealing with calling out the other person for their bad behavior
Then having to either screenshot or document the conversation to prove that it happened. 

PROVING to your colleagues that the event DID in fact - happen
Feeling shitty AGAIN when your colleagues don't believe you
Being disrespected a SECOND time when your colleagues blame you and say it was your fault.

Feeling invalidated and less than human when you're accused of not being honest, or BLAMED like "you need to change how you act in the future, you brought it on yourself" 

Then FINALLY the redemption after showing your colleagues "No, this person was in the wrong, I was NOT asking for it, I did NOT do anything to deserve this behavior" and practically having to force people to accept that nobody should be treated how you got treated in a particular scenario. 

That's like five layers of bullsh*t and a couple hours of time, frustration, and hurt - just to be acknowledged on BASIC HUMAN level”.

It is clear male musicians and those in power still see no problem flouting their positions and taking advantage. I have heard stories of female musicians approached and offered sex; others groped at festivals and some raped. Sometimes it can be as minor as hearing sexist language being chanted from the crowds – issues that never affect men in music. There are hidden tales – women afraid to come through – and casual sexism that infiltrates every seedy corner of the music industry. This article investigated stories of women who experienced sexual assault.

“The women who spoke to me described working in a boys’ club where deals are sealed over late-night drinks and at backstage parties. They told stories of powerful men who took advantage of their positions, and explained the risks inherent in speaking out against them. They detailed an industry beset by financial pressure and fierce competition, increasingly reliant on a freelance workforce vulnerable to gaps in labor protections. Music’s misconduct problem doesn't stem from any one of these factors alone—it's a perfect storm that clears a path for sexual abuse to continue unabated. Blocking that path will require reckoning with the very nature of music and the industry and cultures that surround it.

 PHOTO CREDIT: Unsplash

The music world continues to project expectations that women are valued primarily as objects, not human beings: Hit music videos still feature women as little more than sexual accoutrements for their male stars, and female artists’ appearances remain a disproportionate focus of critical essays and reviews. Behind the scenes, especially when it comes to the power brokers who actually control the industry, music is still overwhelmingly a boys’ club, too”.

The article is fascinating and goes into detail when exploring recollections of sexual assault and problems that are being covered up and ignored. From the offices of record labels to those assisting at music festivals; women in high-profile bands and those starting out and trying to get a break – harassment and assault occur and most of us are unaware of it. Maybe it is not as explicit as the days when groupies hung around the doors of mainstream icons – that is not to excuse the

“In the long term, combating sexual abuse and harassment in the music industry requires preventing it from happening in the first place. This means making a healthy, respectful working environment a business priority through stronger leadership, increased diversity, and greater accountability. Above all, it requires fostering workplace cultures that support the people, and not just the dollars, that define the American music industry”.

IN THIS PHOTO: Songwriter Chlöe Howl, who has spoken about her experiences of sexual assault and abuse in music/PHOTO CREDIT: Getty Images

This BBC piece, promoting a Victoria Derbyshire programme concerning sexual abuse in the music industry, caused alarm and woke a lot of people up to the fetid and revolting sides of music that does not get a lot of media oxygen:

“Sexual abuse and harassment is "endemic" in the music industry, with "dangerous men" abusing their power, the Victoria Derbyshire programme has been told. Some victims are now speaking out for the first time.

"Amy" was 15 when she was groomed by her music manager from one of the UK's largest music companies.

"I'd been writing songs since I was very young, and somebody emailed me and said he wanted to help me and manage me," she explains”.

“Singer-songwriter Chloe Howl felt exploited by a number of men at the beginning of her career.

She was signed to a record label aged 16, and later nominated for a Brit Award.

"I did have somebody come on to me in pretty strong way," she explains. "He was a lot older than me and we were meant to be professionally working together.

"He would drop me off at my hotel, and then text me to say, 'Why didn't you invite me in?'

"I remember one night he grabbed my bum and said something along the lines of, 'I feel like we'd have really good times in the sack.'"

Yet despite this sexual harassment, she describes herself as being "one of the lucky ones".

"I know girls who've been raped, and it's always a man in power and a girl on the rise who needs as much support as possible, whose career hasn't started yet.

"I know that there are men who are getting away with it. They are given this untouchable power".

I can return to the earlier points and men who rebel against feminism and the rights of women. If you read everything you have just seen, truly ask yourself: Do you still think feminism is a bad thing and should be seen as too extreme?! I feel many male artists and journalists are not aware regarding the extent of sexism and abuse that happens in the industry. The piece I have just quoted spoke with women who claimed there are hardly any women (in music) who have not been subjected to sexual assault and abused. It is shocking to see, from the core of the industry to the very marrow that sustains it; there is hardly any balance and equality. I cannot think of any sector or corner of the industry where there are fair rights and proper conversation being promoted by men. The last article I will bring in looks at female D.J.s storming the industry and how one D.J., Hannah Wants, experienced horrific discrimination:

 “While Wants didn’t suffer any kind of discrimination coming through the ranks – and in fact found a supportive environment when first playing the local scene – it has been since she surpassed some of the men still playing those local venues that she has seen something of a backlash. Last year, a post claiming one of her tracks was similar to another went viral. Although there was no evidence of plagiarism, the resulting online abuse for Wants was one of the hardest moments of her career: “People were saying ‘kill yourself’. It was just horrific.”

IN THIS PHOTO: Hannah Wants/PHOTO CREDIT: Getty Images

“…Furthermore, incidents of plagiarism by men at the same moment received minimal attention, prompting online music magazine Resident Advisor to write a comment piece on the issue. While previously she preferred not to talk about her gender, she now sees that discrimination is still a problem: “A lot of the people discriminating against me were men in the same place as they were 10 years ago and they hate the fact that I’m successful now. But no, it doesn’t stop me or lessen my drive. It makes me more driven and a big ‘f*** you’ to them”.

A lot of my concerns do not revolve around gender inequality and sexism: they concern basic human rights and liberty! I worry not enough men in the media are highlighting the issues I have – all of the arguments raising issues of sexism and abuse have been from women! It is not good enough to assume things are festivals are okay and we are sacrificing quality by having an equal split…we can see the mass of female talent and how many past-it and average men are being headlined instead of women. You may argue there is equality on radio and there is little cause for alarm concerning claims of sexual assault – that is not true and I have shown that! I pose that question once more: How can the so-called ‘meninists’ object to women wanting a fair voice in music considering how hard they have to fight and the opposing voices?!

PHOTO CREDIT: Pexels

Great D.J.s like Lauren Laverne and Mary Anne Hobbs are speaking out for women and highlighting great female talent. Listen to any of the mainstream radio stations, especially the BBC, and you will find more men than women - I often wonder why there is such an imbalance when there are so many brilliant female D.J.s out there. This article looked at the history of radio and how vocal intonation and accent have played a part - women expected to sound a certain way:

"As with so many of the professions, the war was a breakthrough for women, enabling them to fill posts in radio vacated by men who'd been called up, their timbre reminding male listeners of home. But although it's no longer surprising to hear female voices, from Annie Nightingale to Jane Garvey, on air, the old rationale for their marginalisation proved remarkably resilient. As recently as 1999, the head of news and speech of a commercial radio station in Manchester described a potential recruit to Janet Haworth, a lecturer in broadcasting, as "a great reporter, a very good journalist, but I couldn't put her on air with that voice. She sounds like a fishwife or a washerwoman" (in Women and Radio, edited by Caroline Mitchell). The "acceptable" female radio voice of today – that of, say, Charlotte Green and Harriet Cass – occupies such a narrow pitch range that it's protected from any such charge. That only one in five of the Today programme's guests and reporters are female is eloquent testimony not only to editors' belief that female experts aren't available (thewomensroom.org.uk found 40 in 48 hours last November after Today failed to find one) but also that a woman needs to be exceptionally prominent to earn the right to speak. And young: a report by Skillset for Sound Women, a support group set up in 2011 for women working in audio, found that only 9% of women working in radio are aged 50 and over, compared with over 19% of men".

PHOTO CREDIT: Unsplash

We are being told balance will happen in years to come but I feel the wall needs to be smashed and rebuilt now – rather than the odd brick removed here and there! I am always flabbergasted we are not seeing the best female artists promoted and festivals do more to redress the balance. I do not buy male journalists have to write what they are told and cannot pitch features that look at sexism. Looking at the comments that associate articles and reports of sexism show what ignorance there is. Men do not feel like they are culpable and, by insisting on equality, we are damaging the brilliance of music and making it weaker. These age-old mentalities threaten to hold back progress, delay the rise of some wonderful artists – women who are sexually assaulted often are close to suicide through fear they cannot report the abuse and (feel they) will not be believed. I am always proud to write articles like this and hope more men follow suit and add their opinions to the mix – we all need to see real change and progression. Women in music and society are doing fantastic work and helping improve the industry as we know it. Things will only really move quickly and get to where they need to be if men in a position of power get over their egos; take a real and bold risk and…

IN THIS PHOTO: St. Vincent, another name being suggested as a possible Glastonbury headliner next year/PHOTO CREDIT: Alex Da Carte

DO what is required!

FEATURE: Credit Where It’s Due: Putting the Spotlight on the Humble and Hardworking Producer

FEATURE:

 

 

Credit Where It’s Due

PHOTO CREDIT: Unsplash 

Putting the Spotlight on the Humble and Hardworking Producer

__________

WE all listen to music from around the world…

IN THIS PHOTO: The producer and songwriter Grimes/PHOTO CREDIT: Getty Images

and do not really consider how the songs come together! I love to listen to a lot of classic artists, including Michael Jackson, and so captivated by the actual performance and how it sits in the mind. You often get into the mindset of listening to the song and really not thinking about its creation and development. Modern music relies so much on self-production: so many fresh artists take care of the production side and we can get a complete experience of production and execution at once. I feel we get into the habit of assuming the artist is the star and they are responsible for guiding the music. Look at the legendary producers like Quincy Jones and how they helped push artists to the mainstream. You cannot argue against the impact he had on Michael Jackson’s career and the expertise he brought to the plate. It was not a case of listening to a song and then nodding the head and recording it. The producer has to give their views on a track/album and ensure the vocals/compositions are as good as they can be. It can be difficult making that call and recognising when something is perfect or not. This article explains what the modern-day music producer has to encompass:

“Since the millennium the Music Industry has been losing a huge amount of income from falling records sales due to piracy and subsequent streaming services. As a result, many of these separate creative roles listed above don't commonly exist anymore and have been completely taken on by the modern day Music Producer.

A modern day Music Producer now wears a lot of hats in music production, such as:

Co-composer/writer

Arranger

Session Musician

Recording & Mix Engineer

Mastering Engineer

Very few Music Producers today work in the Music Industry in the old model of Producer. Many of those producers came from the successful era when record sales funded the growth of the Music Industry”.

There is a lot of work the producer has to shoulder. I know many and, from the big studios through to a more modest setting; they have often to rewrite songs and help bring them to life. It is never a case of listening to songs being performed and then deciding whether they are good or not. The producer has to organise musicians and get them into the studio. Often, various different takes have to be recorded and, in a lot of situations, musicians need to perform from different rooms. Sometimes, you can get that live-sounding performance but, if you have loads of elements together then it takes a lot of patience and organisation. There are others responsible for mixing and engineering a record but the producer is there with the artist to ensure everything sounds great and cannot be improved. Listen to any classic album and, more often than not, someone other than the artist has produced that record.

You might say it is the artist who is projecting the music and, without them, there would be nothing. Very few artists come into the studio fully-formed and know how everything will come together. They might have their own take on a song and sing it one way. The composition might sound good to them but, with another pair of ears, new light and insight come through. A producer might tighten up the rhythm section or suggestion nuances and different elements for the singer. Maybe they’ll add another player/instrument into the mix or take the odd bit out. It is about tidying tracks and making them pop from the speakers. There is a hard balance to walk between making something professional and not over-producing.

IN THIS PHOTO: Catherine Marks/PHOTO CREDIT: Getty Images

Look at the greatest producers like George Martin and Nile Rodgers and it is undeniable what they brought to music. Martin, with The Beatles, bonded with the band and was unafraid to offer his advice and suggestions. He fostered the band and helped them push the music to the very limit. Producers often have knowledge of the equipment and technology in the studio the artist does not. He ensured the early recordings had that live-sounding yet professional sound and then, by 1967, the boys were adding so many layers and sounds to their music. Modern producers like Catherine Marks are not getting the same credit as the world’s best but they are consistent and have a huge reputation. She has worked with the likes of Muse and The Amazons and, like all great producers, bonds with the artist she’s working with and establishes that trusting relationship.

It is not about bossing musicians around and taking things over but, at the same time, it is a balance of assertiveness and imparting knowledge. The producer is there to get the music captured and ensure it sounds as fine as is humanly possible. As this article highlights; there are producers who recognise the importance of going with instinct and having that working relationship with the artist:

“Marc Kinchen is a house and dance music producer from Detroit, Michigan. He's worked with artists including Celine Dion, Lana Del Ray, Enrique Iglesias and Will Smith. He's also co-produced pop music with industry production legend Quincy Jones.

So what's behind his successful career? "It's a combination of skills," he says. "The most important being that, when I make music, I try to put blinders on and not let anyone tell me how I should do it. For me it comes completely from whatever is inspiring me.

"People skills are also very important – often as important as the music you make. When you work with people like Will Smith or Jay Z, you must be able to relate to them and make them feel comfortable. The business is full of different types of people and you have to be able to suss them out and adapt".

The producer often has to work very long hours and make numerous contacts. They attend functions and parties and get involved with the scene. Not only is socialising a great way of meeting artists to work with but it can be a good way of picking up new skills and lessons. The producer is never ever complete. They are always learning, growing and increasing their skillset. Kinchen has some advice for producers coming through:

"Find people you trust and care for, and surround yourself with them. These can be friends, supporters or business people. If you're at the point where you need a manager, look around at your musical friends who may have managers or even ask your mentor.

"Ask questions – ask everyone questions and send your music to your favourite artists or producers. If you have a favourite DJ or producer, see who handles them and try to get a meeting. There are so many ways to reach people now, you can get them through Facebook, LinkedIn, Twitter or email”.

IN THIS PHOTO: Sir George Martin/PHOTO CREDIT: Getty Images

The life of a producer is quite tough but it is very rewarding. You get to see a project come to life and can see a potentially great album turn into something world-class. Some producers do rile artists and struggle to build bonds but most of the great producers have that closeness with the artist and they can work to produce something exceptional. The modern producer need not have formal qualifications but there are videos and courses people can take if you want to get guidance and tuition. A lot of the best production comes from instinct and following what feels natural. Getting those relationships established and networking helps get your name out there and artists will come back and hire you for their next project. Learning mixing skills and engineering adds new elements to your production chest and can prove invaluable when it comes to making a record shine and pop. Another interesting piece looks at what defines a great producer and how they can differ:

“Most of the greats typically fall into one of two camps. The first belongs to the ones who have the gift to tap into the essence of an artist or band, helping them discover something in them they didn’t know they had. These producers are also typically the ones who focus on capturing the most honest, vulnerable, and natural performances possible. Guys like Rick Rubin, Jack Douglas, and T Bone Burnett all come to mind.

The second camp consists of producers with their own signature sound. These people bring their own recognizable musical aesthetic to the records they produce, often contributing to the actual composition of the tracks. Phil Spector pioneered this approach with his “Wall Of Sound” technique, later adopted by artists as diverse as Bruce Springsteen to The Cocteau Twins. Another good example is Brian Eno.  His productions for Talking Heads, U2, and Coldplay all feature his signature atmospheric synths and his use of “The Studio as a Compositional Tool”.

A lot of big and new musicians do producer their own work – there is so much to be said for the producer and what they add to the music. We forget about them when sticking an album on or listening to the latest chart hit. Whilst many producers are men; there is a change coming it that highlights great female producers and makes the studio less a boys’ club-like space – it is a slow process but will have to get out of the viewpoint all the best producers are men. Whilst we look at changes and the need for parity in the studio; you cannot deny the vital role the producer plays and how they can transform music. When an album sells millions or a song goes to number-one; we never really give props to the producers and others that work on that piece. The life of a producer is a challenge but it is one I would recommend to people. Working closely with artists and helping to create exceptional music is hard to put into words. We all have our favourite albums - and spend hours digesting every note - but it is true none of it would be possible…

PHOTO CREDIT: Unsplash

WITHOUT the producer!

FEATURE: Everyone’s Doing It These Days: Why Podcasts Offer a New Window Into Music

FEATURE:

 

 

Everyone’s Doing It These Days

ALL PHOTOS (unless credited otherwise): Getty Images 

Why Podcasts Offer a New Window Into Music

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YOU cannot move too far on the Internet…

before you bump into another podcast about something or other! I think the forum has overtaken YouTube in terms of demand and popularity. Whilst YouTube ‘stars’ garner a lot of fans and can bring their brand – beauty, film or otherwise – to people in a multimedia way; there is something easier and more intimate about the podcast. You do not need to hire a lot of recording equipment and film yourself – some are quite reserved about having their face out there – and you can create a sense of intimacy and warmth. The listener need not break off from what they are doing and see what is happening on the screen. An article I will quote in a bit states the voice-activated market will double by the year 2020 – it will double every year after that. We are seeing more inventions where a user can bring up information and play music by voice command. It seems we want that hands-free and easy lifestyle more and more. Studies conducted earlier this year break down our listening habits when it comes to podcasts. Whilst thirty-two percent of us listen (to podcasts) whilst working out; most of us enjoy one when we are commuting or driving. It seems the best way to endure a journey among the general public is to put a podcast on and drift away. There is a great distraction plugging in earphones and listening to a podcast about literature, music or film.

Unlike an audiobook; one does not need to engage too much and it is possible to browse a tablet or Smartphone whilst listening along. That benefit strikes many and, in a market packed and growing; there is no shortage of choice – no matter what your tastes are! This article provides some eye-opening statistics:

    60% of the US population is familiar with the term “podcasting” — up from 55% in 2016

        50% of all US homes are podcast fans (Nielsen, Aug 2017)

       40% (112 million) of the US population has listened to a podcast — up from 36% in 2016

         15% (42 million) listen to podcasts weekly — up from 13% in 2016

        36% of podcast listeners are non-white — vs 30% in 2010 (Nielsen, Aug 2017)

        Podcast listeners are much more active on every social media channel (94% are active on at least one — vs 81% for the entire population)

         Podcast listeners are more likely to follow companies and brands on social media

       Podcast listeners are more likely to subscribe to Netflix or Amazon Prime (meaning they are less likely to be exposed to TV advertising)

It seems like technology companies are taking full advantage of the growing trends. One of the hand-in-hand trends we are seeing is voice-activated devices – the likes Amazon and Apple have/are making – being a big asset alongside the podcast.

The Smartphone means we can bring up a podcast – even if we do not know the name – without much fuss or searching. Because of the ease in which we can listen to podcasts and explore new ground; many are turning away from video streaming and engaging more with audio means. I recently discovered the Fortunately… podcast – hosted by Jane Garvey and Fi Glover. It is a series designed to reveal what is said when the microphone is switched off – aimed more at women but heard by a lot of men. It is a funny and addictive podcast I tune into every week. They interview guests each week – including the likes of Shaun Keaveny and Emily Maitlis – and give a very candid look into their own lives. You feel bonded with the presenters and get to hear a different side to some well-known figures. It is weird discovering why we are more likely to listen to a podcast than watch a video or T.V. show. There is that accessible nature and the fact we can listen to a podcast on-the-go and do a number of other things at the same time. Podcasts are, essentially, radio so it means those who make them do not have to dress up fancily and worry too much about presentation. Inhibitions are lowered and there seems like a more relaxed and casual tone. That translates and resonates in the subscriber.

IMAGE CREDIT: Getty Images

Carry on with the article I just quoted and it seems like there is a booming market and we can all start out own podcast:

“Entrepreneurship mogul Gary Vaynerchuk summarises as follows: “Just remember, audio and voice are by far the most natural interface for humans to interact. We like to speak and listen. There was roughly 1.5X more audio consumed than video according to Nielsen statistics on streaming in 2016. This is HUGE. If you’re medium is voice, now is your time. Start creating today. Start a podcast, turn your blog posts into audio, develop an Alexa skill or start experimenting with Google Home. Before AR and VR and AI, audio is going to be the next major platform shift for consumer attention. It’s here today! What are you going do?”

The podcast is an eclectic market that can act as education and teaching. Children can listen to podcasts about subjects they are taught at school which provides a more appealing sense of extra-curriculum. We can become better educated or we can go for something a bit trashy and throwaway. The music side of the podcast is starting to grow and attract some big names. I recently pitched an idea for a podcast: one that looked at sex and gender imbalance in the industry and how we can change things. It could/will bring together names across music and figures from outside the business to give their thoughts.

My idea – not sure of a title yet – would play music by female artists and balance serious talk and debate with interview snippets and a more light-hearted viewpoint. Maybe it would be a multi-part podcast but, as a one-off, it would work pretty well. I have been thinking about the podcast as an alternative for a radio show. It is easier getting a podcast kicked off and putting it to the people. This article from Rolling Stone highlights some music-related podcasts worth investigating. Among them worth investigating is Jessie Ware’s bi-weekly podcast:

“Format: Jessie endearingly banters back and forth with her mother, Lennie, and guests, mostly about cooking. “It all revolves around food, my favorite subject, and family,” Jessie says. “I hope the listener feels like they are around the dinner table with us and learns something new about someone they may already know lots about, or even better, be introduced to someone I want everyone to know about.”

Schedule: Biweekly

Why They Do It: “It was a chance for me to ask other people questions,” Jessie says. “I’m so sick of talking about myself. It was also a chance to hang out with my mum and get her to cook me dinners every week. I think I pushed her over the edge when we had four guests in a row, though. She had to go and see her chiropractor.”

Best Moments: Ed Sheeran proclaiming his distaste for kale and “American-boiled” hotdogs and Sam Smith explaining how quitting drinking has helped him chill.

Best Guests: “My mum fell in love with [Get Out‘s] Daniel Kaluuya and [Game of Thrones’] Joe Dempsie over the podcast, Sam Smith told us he thought Mexico was in Spain, Ed Sheeran had four portions, and Sandi Toksvig encouraged us all to add a woman to Wikipedia because there aren’t enough on there,” she says.

Another recent article lists some essential music podcasts you need to get involved with. A standout, Couch Wisdom, steps out and shows an untapped area of the music market:

“Red Bull Music Academy has accumulated a vault full of incredible lectures from two decades of workshops and music industry events. Now, they're sharing them one by one as part of a new podcast called Couch Wisdom. Featuring in-depth conversations covering all sides of the music industry, the series includes lectures from the likes of Q-Tip, Kaytranada, Alex Tumay, and Bjork. Questlove once dubbed the series "Inside The Actor's Studio for music," which is an excellent way to describe the smart, nuanced conversations that go down on the RBMA couch. If you're a music nerd looking to know more about the ins and outs of the industry, Couch Wisdom is required listening”.

It appears that people want to learn more about a musician or the industry itself. George Ezra is another artist with his own podcast and, whilst it is not the most enflamed and exciting thing; he interviews other artists and creates something we do not hear – musicians chatting and finding out more about one another. A simple interview series/question-and-answer welcomes people in and is a very easy-going and informative platform. Doing something more expansive and eclectic could either bring in a traditional radio station – music and interviews – or go further still.

It seems there are a few different types of podcasts we all love. For those who love their music; we either like to hear something in-depth that deconstructs songs or investigates various sides and trends. Whether it is the rise of Hip-Hop or the changing nature of Pop music; speaking with artists and experts about these subjects illuminates and opens up the subjects. We also like podcasts with discussion and something revealing from artists. Mix that with live performances and we have a bit of a podcast-style radio show that offers an alternative to what is currently out there. It seems we have a passion for music past and present: a magazine-type podcast that looks at iconic moments and the best of the new breed. It seems like, to get ahead of the market, you need to combine the best elements of the current market and add your own spin. There is a dizzying choice so it seems like it is harder, now more than ever, to decipher which are the best podcasts to follow. The voice-activated devices I mentioned early could incorporate a new feature that brings in a search engine – you can describe the type of podcast you want and it will find it (or several). I am excited to see the market grow and so many great music-related podcasts come through. Many people I know are putting them together and it is an inexpensive and great way of reaching new audiences.

With social media packed and limited in its scope; it seems the podcast could be an essential accompaniment every artist should carry. By that, I mean they could put together their own one and add an extra dimension to their music. Maybe they interview fellow artists or invite the subscriber into their lives. Maybe there is a slight deficiency whereby you cannot see the musician and a performance but there are endless possibilities when it comes to subject matter and the tone of a podcast. I am going to start my own and make sure I do my research first – to ensure I do not copy any others and create something fresh. The podcast revolution is in full flow and it is getting more people invested and interested in audio and radio. People who would otherwise have avoided certain subjects –politics, women’s issues and art – are given a new perspective and way in. It is great to see a lot of musicians go into the podcast market and a flourishing array of music-related podcasts come out. Have a search and spend some time looking through what is currently out there. If you love your music and want a podcast that speaks to you; I can guarantee there is something out there that will…

SPEAK to you.

INTERVIEW: Hannah Trigwell

INTERVIEW:

Hannah Trigwell

___________

HER album, RED, arrives…

on 31st August, so I have been speaking with Hannah Trigwell about the record and whether there is a song she would highlight as a standout. Trigwell discusses her busking days and how her career has progressed; which artists were important to her growing up – the songwriter talks about her YouTube videos and the reaction they have gained.

I ask Trigwell which three albums are important to her; if there is a current artist she’d like to support on tour; what sort of gigs are approaching – she ends the interview by selecting an awesome song.

____________

Hi, Hannah. How are you? How has your week been?

Hi! I’m very well, thanks. How are you? My week has been very busy so far: recording vocals for a song coming out later this year and editing a new music video!

For those new to your music; can you introduce yourself, please?

My name is Hannah Trigwell - I’m a singer-songwriter from Leeds. My style of music is acoustic-driven Pop but I’m influenced by a lot of different genres and artists!

RED is your upcoming album. What sort of stories inspired the record? Is there a reason for that title, too?

The reason I’ve called the album RED is because it really sums up a lot of the emotions behind the songs: love, lust; anger and jealousy. There is also a track on the album called Red, which is about feeling like you are addicted to someone.

Is there a song from the album that stands as a highlight?

Taboo is one of my favourites. I wrote it quite a while ago and the initial sound of this song influenced the rest of the album. That track has elements of a lot of different types of music and I think it’s an interesting listen - but, I really connected with the whole concept of love being taboo, too. It was very therapeutic to write.

Is it true you started in music by busking?! How did you progress from busking to recording your own music?

I started busking in my hometown and did most days for about a year before uploading videos of my performances to YouTube and reaching an international audience. Whilst I was performing covers during street performances and on YouTube, people were asking me if I could release some of my original music - the demand for it gave me the confidence to start putting out original singles.

Many might recognise you from your videos on YouTube. How does it feel knowing so many people have seen your videos? Has that given you a lot of confidence?

It’s amazing to see how many people have watched the videos or streamed my music online! The numbers still blow my mind. The positive feedback (and constructive criticisms) gave me the confidence to start touring and also helped me improve in terms of playing guitar and singing. I’m self-taught so, in the early days, I got some comments specifically about things I was doing right or wrong and that really helped me progress.

Which artists did you grow up listening to? Do you recall when music first came into your life?

When I was younger, I loved a big range of artists including M People, Eternal; Blue, the Eagles and Michael Jackson - a lot of it was rooted in Pop and I think that has really affected the way that I write songs now. I remember buying an M People E.P. - that was my first C.D. and I thought it was so cool! I also had an obsession with Simply Red for a while. Phil Collins is still a big influence on my music.

What do you hope to achieve by the end of 2018?

I hope to have truly made my stamp with original music - so that people really get my style and who I am as an artist. I know I’ve kind of drip-fed my audience with original music; averaging about one single release a year and so I can appreciate how it might have been hard to truly understand me as a musician – but, now I have a fourteen-track album, I’m so excited to see the reaction.

Will there be any tour dates? Where can we see you play?

Yes! I’m on tour across the U.K. in the first two weeks of September - Glasgow, Nottingham; Leeds, Bristol; Brighton, London and Newcastle! Really looking forward to playing all of these new tunes. Then, I’ll be heading out to play mainland Europe - we have a bunch of international dates to announce soon!

Have you got a favourite memory from your time in music – the one that sticks in the mind?

I recently had quite a lengthy conversation with Quincy Jones at Montreux Jazz Festival in Switzerland. He is a very nice guy and was very open with me straight away - we ended up talking about general life and different experiences we had had in music. He said to me that I should always make the kind of music that feels right and to go with my gut. I really needed to hear that! That’s an experience that will stay with me for a long time.

Which three albums mean the most to you would you say (and why)?

Red Hot Chili Peppers - By the Way

I got this album when I was twelve and listened to it on-repeat during a family holiday climbing mountains in Austria. Every time I listen to it, it takes me back there. I had such an awesome time. That album really inspired me to start writing my own material.

Damien Rice - O

Just such an amazing album. You can really hear the emotion in these songs. Damien Rice got me into playing guitar and Acoustic/Folk music in general. I think this is one of the best albums ever.

Joyner Lucas - 508-507-2209

An album I got into early this year. This guy has made a masterpiece. I must have listened to this record about fifty times. The lyrics are so raw and real so I connected with it instantly.

If you could support any musician alive today, and choose your own rider, what would that entail?

I’d love to support Charlie Puth. I think his songwriting is awesome and all of the live performance videos I’ve seen of his are great. It’d be ace to share the stage with him!

My rider is pretty small, to be honest. A great rider for me would be bottles of water, good red wine; chicken salad chocolate and Yorkshire Tea.

What advice would you give to new artists coming through?

Be nice and take every opportunity. If you’re not nice you get a rep pretty quickly: the industry is a lot smaller than you think in terms of who knows who. Definitely don’t be afraid to put yourself out there. It’s easier than ever - pretty much everyone has a camera phone; you just have to be motivated enough to make it happen.

 IN THIS PHOTO: HANNIE/PHOTO CREDIT: Fay Summerfiel

Are there any new artists you recommend we check out?

I recently co-wrote a track with HANNIE (an Electro/Pop/guitar duo) - definitely check them out. They have some awesome funky tunes.

Do you get much time to chill away from music? How do you unwind?

A little, not a lot! I love being outside. Hiking is something that really calms my mind. I like to watch movies. I often get inspiration for songwriting doing that too.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Ariana Grande - God Is a Woman, please! It is my current obsession

________________

Follow Hannah Trigwell

Official:

http://www.hannahtrigwell.com/

Twitter:

https://twitter.com/HannahTrigwell

Facebook:

https://www.facebook.com/hannahtrigwellmusic

YouTube:

https://www.youtube.com/user/hannahtrigwell

Instagram:

https://www.instagram.com/hannahtrigwell/

Spotify:

https://open.spotify.com/artist/7AEPFGsBBHqMtHGiYDFVQy

SoundCloud:

https://soundcloud.com/hannahtrigwell

INTERVIEW: Mikey Wax

INTERVIEW:

Mikey Wax

___________

THE excellent and massively popular Mikey Wax…

has been talking with me about his new single, Big Little Life, and how it started life. I ask about the video and what it was like to film; what the secret to his success is; if there is going to be more material arriving; which artists Mikey Wax would count as idols.

I ask the U.S. songwriter about L.A. and how important it is regarding his songwriting; whether there are any gigs coming up; an upcoming artist we should get behind and support; if he has any favourite memories from his career so far – Mikey Wax tells me how he spends his time away from music.

____________

Hi, Mikey. How are you? How has your week been?

I am swell...a word I don't often use but I’m trying to bring back in my vocabulary. My week has been excellent too, thanks.

For those new to your music; can you introduce yourself, please?

I'm a singer/songwriter from N.Y. I’ve been playing the piano and writing songs since I was eight. I now live in L.A. and write Pop songs by day and entertain my wife and our two cats by night.

What can you reveal about your new single, Big Little Life? How did it start life?

Big Little Life was a song I wrote for my fiancé that I intended to surprise her with on our wedding. I thought the concept was cool because, for most ‘young adults’, you don't have everything figured out yet. Despite not being able to afford all the things we want, we have each other and that's all you really need.

The video is intricate and lush. Did it take a while to put together? What was it like to film?

Thanks. The video came together pretty quick actually. The directors and I had a pretty clear-cut vision of what it had to be. We filmed it in our house, removed all the furniture and everything and slowly built it back up. It captured the spirit of the song and it felt very ‘real’ filming in the actual house I live in.

Is there going to be any more material coming before the end of the year?

I have a lot of songs I'm wrapping up. I'd say, yes, there will be more music later this year.

You have gained countless streams, kudos and nods by fans and big names. What is the secret to your success would you say?!

It's a bunch of factors coming together. I think, first and foremost, having a well-written and produced song is at the core. But, almost equally important is having a good team of people who believe in your project.

Which artists do you rank as idols? Were you exposed to music quite early in life?

I have a lot of idols. I've tried to emulate a lot of artists in the process of getting to a point where you almost stop caring and can just be yourself. My first obsession as a kid was The Beatles; Countless hours repeating The White Album (The Beatles) and Abbey Road. Next up was Billy Joel who, in my opinion, doesn't get enough clout with younger writers. The guy is a legend! I went through a deep love for the Dave Matthews Band.

Many, many others….

How important are L.A. and its people in regards your own music? Do you take from the sound and sights around you?

I moved to L.A. a little over a year ago. I think the change has had a really great effect on my music, mood and lifestyle etc. Don't get me wrong...N.Y.C. will always be home, but there is a real collaborative process out here in L.A. which makes the songs stronger. The sunshine makes you want to get out and drive to a writing session. I live in Pasadena, which is pretty suburban, but the trees and grass are inspiring. The streets, buildings and bridges of N.Y.C. are equally inspiring but I was ready for a change.

What do you hope to achieve by the end of 2018?

It's a great question and, to be honest, I often don't set enough short-term goals. I always think, years out, what I'd like to have achieved by that time. I think, for the remaining five or so months of the year, I'd like to see Big Little Life continue to reach more listeners; land a prominent spot in a commercial or movie; more Spotify playlists on top of the ones it’s already gotten. I actually just found out the song will be featured in the season finale of A&E’s Born This Way this fall, so that’s definitely an exciting look. I'd also like to release one or two more songs.

Will there be any tour dates? Where can we see you play?

At the moment I've been taking a break from the road to hone my songwriting and really have a large bunch of songs that can sustain my career for a long time. There is a time for the road, but right now my mind is 100% in a creative space and I want to put all my energy towards creating music, as well as relationships, personal stuff, etc.

Have you got a favourite memory from your time in music – the one that sticks in the mind?

There have been so many - at times I look back to an experience on tour or early on in a studio session and think ‘Was that really me?’ There was one show I played in L.A. where the legendary music exec Seymour Stein came to see me play (I also performed in his office a few weeks prior). He was very supportive.

Although he and I never ended up working together, he told me that I had a strong future, which was a confidence booster I needed at the time to keep going.  It also was great when Aaron Rodgers came to my gig at Hotel Café after discovering my music online. Overall, hearing words of encouragement from people so accomplished is humbling.

Which three albums mean the most to you would you say?

I should be ashamed but, for the past ten years, I haven't been much of an album listener. In Pop music writing sessions, we sort of study singles. Albums I play in their entirety are usually much older records like Louis Armstrong, Ella Fitzgerald and Frank Sinatra. When I'm in the mood for Frank, I'll play his record straight through.

If you could support any musician alive today, and choose your own rider, what would that entail?

It would be a childhood dream to open up for Billy Joel, John Mayer or The Dave Matthews Band.

I wouldn't need a rider. Actually, maybe, just some paper towels in case I throw up from being so nervous playing in front of those legends.

What advice would you give to new artists coming through?

Have a support system - people who care and love you and will be there for you no matter what.

IN THIS PHOTO: Brooke Williams

Are there any new artists you recommend we check out?

Yeah. I wrote a cool song with this artist Brooke Williams. She's releasing a record soon. I like her sound a lot!

Do you get much time to chill away from music? How do you unwind?

Yeah. I always find some time to unwind and distract myself which is important because life as a musician isn't always the most stable. I have a really supportive wife and two really cute cats that do a great job at making me laugh and put my music mind to rest.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

How about Good Vibrations by The Beach Boys

________________

Follow Mikey Wax

Official:

http://www.mikeywax.com/

Twitter:

https://twitter.com/mikeywax

Facebook:

https://www.facebook.com/mikeywax

YouTube:

https://www.youtube.com/channel/UC9G4c4wHiy76oighEqiln6Q

Instagram:

https://www.instagram.com/mikeywax/

Spotify:

https://open.spotify.com/artist/2Uk1SfxshYKxVMmtGqFtzo

YouTube:

https://www.youtube.com/channel/UCzfcWAeAMkDAwwVcFP9pRhw

TRACK REVIEW: WILDFIRES - Stuff

TRACK REVIEW:

 

WILDFIRES

Stuff

9.5/10

The track, Stuff, is available via:

https://soundcloud.com/wildfiresofficial/stuff

GENRE:

Pop

ORIGIN:

Manchester, U.K.

RELEASE DATE:

1st July, 2018

_________

ON this outing…

I am looking at a band that has got my mind thinking about things I have not investigated for a while. I will cover Manchester and the North in a minute; a little but about bands in general and how their sounds have evolved; female-led groups and how a greater diversity in the ranks adds something extra to music – a look at where WILDFIRES will head and what their future holds. I wanted to start off by looking at songs that relieve tensions and get the head swimming. I get to listen to a lot of sounds and you get a different sensation from each of them. Music has that ability to get under the skin and help you when you need it; it can ease tensions or raise the spirits. It is strange how deep music can go and what emotions it can summon. I listen to WILDFIRES’ latest cut, Stuff, and it filters into the blood and takes my mind somewhere else. I am looking, at the moment, for something that can offer a sense of direction and calm my soul. Things are a little tense and busy right now – with moving to Manchester and juggling work and personal life – and music is a way of trying to make sense of everything and provide stimulus. I have arrived at the feet of WILDFIRES and there is plenty in their music that offers guidance and calm. That said, listen to the vocal and its raw edges and there is excitement and exhilaration. I am one of those people who listen to music to feel better and nourish the mind. I can listen to songs in a casual way but I feel, for the most part, music is only meaningful if it can do something and provoke some emotion. WILDFIRES do that and, right now, they are playing quite an important part in my life. It is compelling how deep music can go and the joys it brings.

I will move onto another subject that I am keen to investigate but, looking at the Manchester-based band and there is something in their ranks that fascinates me. I am hearing a load of bands and solo artists emerge and play and every one of them does something unique. As someone who does not write music; it is wonderful listening to such quality come through right now. I used to write songs but have no musical ability myself. I always stand aghast with shock listening to the new breed and the sort of talent they possess. It is harder now, as opposed times past, to stand out and create something promising and purposeful. There are endless options and sounds – it is easy enough to fall into a familiar trap and mimic something on the market. WILDFIRES have their own flair and brew and are full of virtues and strengths. I mentioned how I seek out something from music to raise the energy and help me get through hard times. I am not sure how it happens but bands like WILDFIRES have that innate ability to make things better and, at other times, get the body moving and the heart pumping. Music, at its elemental best, has that power to speak profoundly or, at the very least, provide a beautiful distraction. I am searching harder now, more than ever, for music that provides real depth and meaning. There are so many artists out there who seem to follow the pack and are a little derivative. I understand how tricky it is providing original content but there are too many people out there, bands especially, unable to provide their own flavour. That is never the case with WILDFIRES. They wear a couple of influences on their sleeves but never show it too visibly. You only need to listen to a few notes from the guys to bond with the music and realise it emanates from somewhere new and fantastic. Stuff is a fantastic single that hints at future glory and shows what the band are made of.

I’ll come back to bands in a minute but I wanted to look at the North. I have talked about it a lot before and how there is a definite split between the South and North. In terms of exposure; you never really see as much fascination levied at the North as you will down here. I have been following music since I was a child and I have seen the changing face of the industry and the splits forming. The North has always been at the top and forefront of the business. I have name-checked the likes of Oasis and Pulp before – so shall not go down that path again – but it is amazing to look at a time when there were relatable, working-class bands who could speak about life’s realities and how things were for the average person. You do not have that too much and I feel a lot of that has to do with the dominance of the South. There are artists working away who have that common and accessible edge that reminds you of the better days. Right now, there is more music available than ever and it is hard to see where it might head. I feel there are so many great northern artists around but we still tend to stare too hard at the capital and music coming from the South. There are journalists in the North who are promoting local talent but the mainstream media still has a long way to go. I am not suggesting we dedicate features to artists in the North but there should be more balance and exposure. With groups like The Orielles coming through and showing what promise there is in the North; can we really avoid artists from areas like Manchester and Yorkshire and keep focusing on the same old stuff? I understand why London gets a lot of love but I know how many great artists there are in the North. Going back to my point about relatable and working-class music and you tend to get a lot more of that up North.

At a time when the nation is splitting apart and we are not sure what the Brexit deal is; it seems we have a long way to go before salvation and repair comes about. I worry we are heading somewhere frightening and those in power – the posh and middle-class – are sending the nation into a hole we might not be able to climb out of. I am looking back at interviews conducted with various figures in the media and they ask whether Brexit and the turmoil we have now is a result of a lack of support in music. By that, I mean there are not enough voices who document the realities of Britain and what it is like for regular people. Not that WILDFIRES produce political commentary or music like Pulp’s but they have a sound and brilliance that shows what is happening up North and how good it is. If we hear more of it – and the media puts it into the fore – then people investigate the wider landscape and what is happening in that part of the U.K. In any case; we need to get out of this headspace that states everything from the South is brilliant and there is not a lot up in the North. Yorkshire, Manchester and Liverpool are full of great artists; throw some love up to Scotland and you have some great musicians coming out of Lancashire. You do not need to look too hard and I feel, if we did that and the media were more ambitious, we would get a more balanced industry and a far stronger one. I shall move on from this point but I wanted to urge those in a position of strength to realise we need to look at the past – and what happened in the 1990s – and encourage a more balanced and level music industry. There are artists out there speaking about politics and social concerns; those who have an honesty and special magic – they have to fight harder than artists closer to the capital or those nearer the mainstream.

I am moving up to Manchester and know how strong the music scene is up there. The locals are very supportive of the artists coming through and there is so much for people to see. With a range of great venues and a community spirit that backs brilliant music and culture; WILDFIRES are in a great place and a perfect spot to see their music get some serious love. I wonder whether they will play down in London a lot – I will mention that later – and get their music up and down the country. I have been following WILDFIRES for a bit and, although they have only released a few singles, I can see how they have come on the new aspects thrown into the mix. Stuff shows them at their most determined and complete. I am excited to see how they will progress and evolve and what comes from them. The very best artists are those who have a closeness and sense of understand but are willing to experiment and venture into new ground. WILDFIRES have that sound that reminds me of Pop-Punk bands of the 1990s (a little bit of Kenickie spring to mind) and that brew of seriousness and fun. You get the fresh and exhilarating vocals and solid band performance. I have seen WILDFIRES launch themselves in the world and grow ever-stronger with every release. I often look at the band market and wonder whether there is going to be any growth and change. Solo artists are stealing a lot of the focus and it seems like their dominance is not going anywhere any time soon. Bands are making a bit of a resurgence but I feel too many of them are either going for generic stadium sounds or there is too much electronic input. There are some great bands like The Orielles, Superorganism and Hookworms but they are in a minority. It is a shame because, with those bands I have mentioned; you get so much depth, beauty and songwriting excellence.

It is hard standing aside and getting into the mind. I feel solo artists have a better time and it is easier for them to be nimble and expansive. Bands are often confined to a certain sound and each member has to be happy with the direction and what is being produced. WILDFIRES have a unity and closeness in their ranks that means every decision and song gets a majority vote and there is not that split. They have all been raised on great music and do not aimlessly and lazily follow what is already out there. The guys take from local sounds and look back at their childhood tastes; they write about what is happening in their lives and create a heady and exciting concoction. I am getting more and more excited about bands and keen to get them to the forefront. I have grown a bit weary of Alternative and Indie bands because a lot of them go for maximum volume and stadium-sized sounds – it often blends into one and lacks necessary intelligence and memory. Pop can have that same effect but there are some bands coming through that splice in various decades, elements and sub-genres. I feel WILDFIRES have that ambition to take their music around the world and inspire the next generation coming through. You can sense they have a desire to play big venues and arenas but they are not going to compromise their individuality and ethics and go all Rock or mainstream. One thing that amazes me about the songwriting is how you recall some epic bands of past but it is fresh and new at the same time. That is a hard balance to perfect and something WILDFIRES do very well. I understand most bands are all-male but, in terms of vocal sound and the overall feel, you are very limited and often yearn for something different and more varied. This is another reason why WILDFIRES get to me and why their music communicates something quite special and wonderful.

The Orielles mix male and female vocals and, though I have mentioned them a lot, there are many other bands that have female vocals at the front. From False Advertising and YONAKA through to Goat Girl (all-female) and Superorganism. The all-male bands are great but there is something special about the female voice that goes a bit further and does a lot more. Pop-Punk is a genre that has never really lost its spark and I feel it is at its strongest when you have a female lead. Look back at the riot grrrl movement and the artists that came around in the period. Although they were more Garage-Punk; you had great bands like Bikini Kill who provided spark and explosion but had Pop edges and plenty of melody. I feel that is the secret to creating unifying and properly special music: a strong female lead and a band that have a balance of granite and Pop. I mentioned how we had a great band movement back in the 1990s that inspired a generation and actually spoke about what was happening in the nation. I feel we need that same sort of revolt and uprising in modern music that can make sense of what is happening and get people together. I am not saying WILDFIRES alone can do that but there are fantastic artists out there who seem a lot more grounded and tangible than those in the mainstream. I shall not labour that point further but it is interesting to ponder. I am attracted to bands that have male and female members because you get different perspectives and a more rounded sound. Let us consider the current bands market and the imbalance between all-male examples and those with female members. You have the option of sweetness and spark you will not get with men alone. In order for music to expand and progress, we need to encourage greater diversity and showcase bands that go beyond the obvious. We are still stuck in this mindset the all-male band that turns up the amp and cranks out the guitar is the popular dollar. Whilst they may fill stadiums and provide a short-term blast; those bands that linger longest and have more about them provide a lot more than riffs and familiar choruses.

It is interesting to note how many all-male bands there are and how the band market is experiencing a slump. I am not suggesting that is the only correlation causing the problem but there is a definite link. Too many bands are playing the same sort of music and not really pushing the envelope in a way the public demands. WILDFIRES have enough fire, magic and mystery to go very far in the industry and provide fresh music that blows away the cobwebs. When looking at the band scene and where the new breed of brilliance will come from; I feel Pop and Punk will overtake Rock and Alternative and start a new movement. I have argued about the North and how we need to concentrate more of our time out there. I hope I have covered enough ground and explored WILDFIRES in great depth – I have every hope they will go on to great things. My point is we all need to look harder at music and get beyond the capital and what is coming from there. It has been a long time since I got excited about band-made music but things have changed the last year or so. With great Punk bands like Cabbage and IDLES flexing their muscles; the mass of brilliant Pop-Punk mixing it up and getting their music out there; I feel we are seeing a bit of a recovery and, in a few years, bands will be back on a par with solo artists. WILDFIRES get me excited and their music stays in the brain. You can sing along with them and get up and move. That is not to suggest they are throwaway and too Pop-minded. The spunk and physicality they bring to the plate is what keeps me invested and hooked. I have talked a lot about the band and where they are from; what they are all about and the brilliance they bring. I better get on to WILDFIRES and their latest single, Stuff.

There is plenty of energy and spinning when you hear the opening notes of WILDFIRES. Guitars weave in and out of one another and you have a definite spring in the step. There is light and sunshine but something more spiked and rousing working alongside. In the first few moments, you have so much to get behind, dive inside and fall for. The notes twinkle and dance. You feel yourself swinging your arms to the side and strutting down the street. There is a definite smile on the face and an openness that invites the listener in and keeps them safe. That might suggest there is not enough punch and grunt to get everyone involved. The strength of the song is to provide something quite breezy and calming but there is plenty of physical oomph and kick to unite those who love Pop and those who prefer something a bit different. The introduction is wonderful and you project all sorts of images and place your mind in a particular place. Nathan, Si and Ste step up the musical intrigue as Poppy-Jo comes to the microphone. The heroine has a breathy and seductive voice that reminds me a bit of Hope Sandoval. There is a bit of Nina Persson (The Cardigans) in there too but you get local accent and something more street-wise. It is a blend of sexy and strong that fuses with sly and winking. By that, I mean the heroine has a very down-to-earth nature but there is cheekiness to be found. She hopes and wishes to be the richest girl in the world and give everything to her other. Maybe it is the first moments of a relationship but it seems, as the title suggests, she only has some stuff and various bits and bobs. It is an interesting and new angle to explore and one I was not expecting. So many artists look at love and relationships in a very staid, cliché and boring way.

WILDFIRES seem much more grounded, earnest and unique when it comes to their approach. It is like you are in the heroine’s bedroom and seeing what is strewn about the place. Maybe there are some older guitars or some vinyl; a few trinkets and souvenirs here and there. One gets some male companionship in the vocal department – acting as a two-hander in a sense – and there is a stock check of all the things the heroine has. She has clothing with holes and tears here and there; footwear with scuffs and nothing seems complete and new. You get a vivid and colourful sense of what is in her flat and what she has to offer. Maybe it is an honest revelation to a lover or a general observation of what she has in her life and how humble the setting is. You get some cigarette-scented huskiness and whiskey-soaked sensuality sits alongside a soulfulness and sensitivity that gets into the heart. The heroine wants to give the world but is offering her kingdom of scuff to the hero. She lives a very normal life and there are few riches to be found. It is interesting interpreting the words and it juxtaposes a lot of Pop music that highlights wealth, a desirable life and something many of us cannot understand. You can get behind Stuff and what is being said. The closest comparison to WILDFIRES, I guess, would be The Sundays. Their 1990 album, Reading, Writing and Arithmetic is seen as one of the finest records of the decade and is a perfect blend of Pop and a strong backbeat. WILDFIRES provide a similar unification of dreamy and spirited vocals and great percussion. They throw in keys and synths alongside guiding, strong bass and their proprietary perfume. It is a heady and extraordinary scent that fascinates the eyes and ears and makes you come back. The catchy chorus is, essentially, that list of incomplete clothes and imperfect threads. By the final notes, you come back to the song and try and get to the bottom of it. The modest heroine is being honest about her possessions and what she has to offer. You are behind her and feel sympathy but that is not the point of the song: it is that juxtaposition of the glamorous and bling-laden songs you get and that ‘idealistic’ love song. It is like two teenagers at school starting a courtship and visiting each other’s rooms – not in a sexual way but a more innocent sense. You get that combination of serious and sensual with the child-like and simplistic. It is a great offering from the Manchester band and proof they are among the very best groups in the North. Ensure you give it a good listening and dive into the beautiful and intriguing song. Stuff is a mouth-watering offering that will provoke questions whether more is coming and where the band is heading.

I will reinvestigate WILDFIRES later in the year perhaps but I think the guys have a busy and active time ahead of them. There is a lot to suggest they have a long future and will be touring around the world. They have local gigs coming up and will be busy this summer getting Stuff out to the people and getting as much love as possible. I am stunned by their latest work and how effortless it gets into the head. I hope the band get a chance to come down to London and play some gigs here. I feel they have international potential and can get a lot of attention through Europe and America. I am excited for them and wonder whether an E.P. might come before the year is out. A lot of new ears will train their way and there is evidence to suggest WILDFIRES will bring about some changes in the music industry. Looking to 2019 and I feel WILDFIRES will head to some festivals and get some bigger gigs. I know they are a great live proposition and one of the best young bands working today. Maybe the secret is to mix Pop, Punk and other genres together and provide a personal aspect. It is hard to decipher what makes a ‘perfect sound’ but I feel you need to balance the upbeat and serious; have some Pop edges and crank up the intensity when the moment calls. There is a fantastic bond in the band and you can hear the closeness in every note. The WILDFIRES guys are a democracy and you can hear how much music means to them and how important this is to them. I know they will last a long time and there is going to be more material arriving. I hope I have covered enough ground and explained and explored WILDFIRES sufficiently. I recommend people get involved with their music and listen to Stuff. The Manchester-based band has a great local following but it cannot be long before the capital’s taste-makers prick up their ears and…

THROW love the way of WILDFIRES.  

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Follow WILDFIRES

Official:

https://www.wildfiresmusic.com/

Twitter:

https://twitter.com/WildfiresMCR

Facebook:

https://www.facebook.com/wildfiresmanchester/

Instagram:

https://www.instagram.com/wildfiresofficial/

SoundCloud:

https://soundcloud.com/wildfiresofficial

FEATURE: Sisters in Arms: An All-Female, Summer-Ready Playlist (Vol. XIII)

FEATURE:

 

 

Sisters in Arms

PHOTO CREDIT: Malunga

An All-Female, Summer-Ready Playlist (Vol. XIII)

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I am discovering so much female talent…

IN THIS PHOTO: Biig Piig/PHOTO CREDIT: Daniel Alexander Harris 

and am keen to celebrate and highlight the sheer variety out there. What strikes me is the passion and memorability of the music available. There is an imbalance in music still and I find many female artists get overlooked in favour of their male peers. Whilst their sounds are doing the talking; it is a shame some of the best and most engaging new artists have to fight harder to get the same sort of billing as male musicians. In this latest volume; I source tracks from all around the musical map – showing what an immense and impressive treasure chest of female-fronted music…

IN THIS PHOTO: RAYE

THERE is out there.

ALL PHOTOS (unless credited otherwise): Getty Images/Artist

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PHOTO CREDIT: Sara Herrlander

AY Wing – Ice Cream Dream

Etta Bond – Let Me Hit It

PHOTO CREDIT: Metro

RAYE – Friends

Emma Louise – Wish You Well

Amy Guess – Never Come Back

Shaqdi – Better

Hero Fisher – Lonely

Caroline Rose – Bikini

MeMe Detroit - Get Down on with Me

Lava La Rue - Widdit

PHOTO CREDIT: Rhea Caldwell Photography

Angie McMahon – Keeping Time

Mary Miller – I Found Heaven

Mint Field – Viceversa

G Flip – Killing My Time

PHOTO CREDIT: Lukas Gansterer

Mavi Phoenix – Trends

Andreya Triana – All or Nothing

Biig Piig – Flirt

Alice Merton – Lash Out

Nubya Garcia – Source

Malunga – Never Let Go

Kiah Victoria – Ornament

Jen Cloher – Strong Woman (Live at The Loft)

Naaz – Loving Love

Poppy Ackroyd – The Dream

Siân Alex – Naya (Sofar London)

Flohio – Watchout

FEATURE: Melville from Inside the Whale: Artists and the Creative Benefits of Isolation and Sparseness

FEATURE:

 

 

Melville from Inside the Whale

PHOTO CREDIT: Unsplash 

Artists and the Creative Benefits of Isolation and Sparseness

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MAYBE it is not a new phenomenon…

PHOTO CREDIT: Unsplash

but more and more artists are turning away from the distractions and technology of the studio to record somewhere more remote and quieter. We all know the story behind Bon Iver’s album, For Emma, Forever Ago, and the fact Justin Vernon had broken up with his girlfriend and needed to get away. He was in a state of despair and, between November 2006 and January 2007, laid down a collection of rather intimate and haunting songs that ranks alongside his very best work – many consider the album to be his very best. Vernon, before recording the album, was ill with mononucleosis and a liver infection. He was frustrated with life, in general, and drove to his father’s remote hunting cabin northwest of his hometown in Raleigh, North Carolina – he set up home in Eau Claire, Wisconsin and shut himself away from the rest of the world. When interviewed in May 2008, he talked about his experiences. The article set the scene regarding the cabin and the first flickers of For Emma, Forever Ago:

“Vernon arrived at the cabin in a state of disrepair, having driven through the night from the stifling, swampy heat of North Carolina, where he had settled with the members of his former band, DeYarmond Edison, with whom he had played since his teens. "I felt very uninspired [in North Carolina]," he says. "I needed to get back. So I broke up with everybody, I broke up the band, I broke up with my girlfriend - broke free to do that".

“The cabin was built in 1979 by his father, and Vernon would often spend weekends there growing up. It stands on 80 acres of land rich in aspens, wolves and wild turkeys. "The cabin's like a little alpine-style, timber-frame cabin, used to just have a dirt floor, but the last few years my dad's made it ... maybe too nice." He smiles gently. "Like there's plumbing in it now. But there's still that ancient vibe, because you're so far away from everything."

At first, he admits, he did little but drink beer; gradually, he began to acquire a self-sufficiency that may be the source of the record's feeling of completeness. He chopped logs and hunted for food. "That year was the first time I had killed a deer. It didn't feel good. You want to hit it here," he says, touching his side. "You want to kill it really quickly." It was a good two weeks before he set up any of his music equipment - two weeks in which his head cleared and inspiration came. "I didn't go up there to make a record," he says. "But music was just part of the process of me ironing out that weird vibe inside me. I sat down and started working on the songs, layering vocals on top of vocals, trying to be a choir".

The results one hears from For Emma, Forever Ago stun the senses. The syllabic and wordless quality; the overtaking of emotion as opposed to musicality and technical – it is a profound meditation and rumination on the desolate surroundings in which he recorded and the turmoil seeping through his veins. It sounds rather like a passage from Herman Melville 1851 novel, Moby Dick (or ‘The Whale’): the sailor, Ishmael, obsessively questing Ahab, captain of the whaling ship, Pequod, in order to exact his revenge – read the novel to see why. In fact, it is more akin to Ahab being inside the whale itself: a certain sense of safety and doom sit alongside one another; the sounds of the outside world a mere echo and distorted hum. Often, life can get in the head and dominate every rationale and movement. We get obsessed with ritual and technology; the buzz of the city or the demand of the family. It may sound rather rustic and hard cutting off from life and settling in a remote cabin for a couple of months – sans Internet, Netflix and a decent oven. Whilst a musician like Bon Iver would not have the luxury of amps, a big studio and all the instruments at his disposal; there is something rather humble and challenging being cut away from that crutch. Artists pre-Internet and modern technology had to rely on, before getting into the studio, very basic means and, as such, created much more pleasing and personal songs.

PHOTO CREDIT: Unsplash

I like artists who can utilise technology and push limits but, in a day where we all get hung up on social media and a rather safe way of life – settling in a woodland location and taking things back to basics can revitalise and infuse the senses. Bon Iver’s For Emma, Forever Ago was his debut album and it was a brave decision creating an album and launching it into a world where the very best works – Arcade Fire’s Neon Bible and Radiohead’s In Rainbows, among them – of 2007 relied on traditional studios and equipment. Maybe that is why the record stood out: you could hear the sweat and emotion; there was the sense of a man alone with his thoughts and his music…nothing else to distract the mind and no aids to blur the lines between authenticity and distortion. Jack White, on the other hand, entered a similar sense of isolation when he recorded his latest album, Boarding House Reach. DIY, when reviewing the album, drilled down to the crux of Jack White:

“There’s a popular view of Jack White. It’s one that casts him as a crotchety nostalgist, sitting in a wooden cabin surrounded by tape reels, with two tin cans and a string in place of a phone and a three-mile restraining order on anyone with a Facebook profile. It’s a reputation that people love and loathe in equal measure. For the acolytes, he’s a purist to be held aloft in these increasingly fickle and transient musical times; a man so devoted to the vinyl cause that he started an entire empire (Third Man Records) in celebration of it”.

IN THIS IMAGE: Jack White/IMAGE CREDIT: Getty Images

Maybe the surroundings he recorded in did not match Justin Vernon’s in terms of its remoteness and simplicity: White was in a small apartment but, for the most part, distanced himself from modern appurtenances and aids. He set up a small apartment in Nashville, Tennessee and recorded on reel-to-reel tape. He did not need all the gadgets and electronic luxuries that were used on his previous two solo albums. If anything, he was going back to the early White Stripes days when Jack and Meg White would lay down the material on four-track and make the albums sound as raw and Detroit Garage-Rock as possible. Whereas White’s move was a chance to reinvent and record in a new way – preferring a less gutsy and raucous sound of his previous works, Lazaretto and Blunderbuss – it proved you do not need even to use laptops and the comforts of home to create great material. Whilst there are gulfs between the work of Bon Iver and Jack White – the former received much more praise from critics – each artist felt the need to record in a way that differs from what’s around them. White, since the breakup of The White Stripes, moved away from their rigid and disciplined uniformity – the power of the number three and using guitar, drums and the odd piano here and there – and settled into a more expansive and broad style of working.

IN THIS IMAGE: The cover for Max Cooper's album, One Hundred Billion Sparks/IMAGE CREDIT: Max Cooper/Getty Images

Another artist who has caught my ear is Max Cooper. He recorded his current album, One Hundred Billion Sparks, in a different way to many artists. It is interesting reading this article that gives a bit of background:

“One Hundred Billion Sparks sees Cooper further refining his widescreen style of techno, ambient and experimental music. The UK artist says he conceptualized it during a month spent in isolation in a remote Welsh cottage. 

The album "is my attempt to express what was there after I had removed my everyday life," Cooper explains. "No phone calls, no emails, no messages, no human contact for a month, that was the idea. What I found were the fables we live inside, our constructs, the mechanisms which create them, and the experience of parsing them." 

Today's announcement also comes with this quote: "We are one hundred billion sparks. One hundred billion neurons whose firing creates feelings and ideas. One hundred billion neurons that make us all different yet connected".

Even though the three artists I have already mentioned come from different parts of the musical globe and have different experiences regarding recording/writing; each of them has stripped away the modern world and decided to go back to basics.

Cooper’s album is out on 20th September and it will be interesting to see what that lack of phones/emails and technology has done to the music. I feel more and more musicians will follow the example of Max Cooper and shut away the gadgets and gizmos. Look at the history of music and you can see some vivid examples of artists recording in unconventional spaces. Bob Dylan and The Band recorded in a big, pink house near Woodstock (for The Basement Tapes); The Rolling Stones recorded Exile on Main St. in the basement of Keith Richards’ French mansion; U2 went to Slane Castle for The Unforgettable Fire – Adult Themes for Voice, by Faith No More, was recorded in various hotel rooms. It is not unusual to embrace the unconventional but what I am referring to is artists who completely dispense with modern-day technologies and seek something more honest and less distracting. Many new artists are recording music at home and recording on very simple devices. Look at classic albums like Odelay (Beck) and Nebraska (Bruce Springsteen) and you have homemade sounds in them. I think a lot of artists get too focused on creating something polished, ‘professional’ and simple. We are all too reliant on devices and technologies. I wonder whether we will ever move past this mode of working when we really don’t need to.

PHOTO CREDIT: Unsplash 

By that, I mean we have come a bit too far and are getting too comfortable letting the Internet and technology create sounds and put music together. I would like to see more artists, established and new, either recording or writing material away from the home or somewhere that is quite remote and rural. Not only are you away from the ringing of phones and the noise around you; it is you alone with your thoughts and the music alone. Sleater-Kinney recorded their celebrated album, The Woods, in rural, upstate New York in the depths of winter – it was their seventh record and they needed to get away from the post-9/11 world and the need to stretch their legs (in 2005) was evident. They recorded in intense conditions and often were surrounded by snow; a lot of the songs were nailed in one take and it was a very different way of working. If it is a way of throwing out the rulebooks or finding fresh inspiration; getting into a new way of working or reconnecting with the natural world – I am seeing a lot of modern cases, that I have not mentioned, of musicians either recording in a remote woodland location or a rather simple, technology-free space. It may sound rather horrible and unusual but, as we have heard, it can change an artist’s sound and add fresh spark into their careers. In a time when we are all obsessed with technology and social media; it sounds rather appealing unplugging it all, getting into the car and…

PHOTO CREDIT: Unsplash

RECORDING music surrounded by nature, quiet and no distractions.

INTERVIEW: Tiny Eyes

INTERVIEW:

Tiny Eyes

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IT has been great speaking with Joel (Tiny Eyes)…

about his incredible new single, Just Saying, and  its memorable, vivid video. He discusses the hot weather and how it is impacting him; whether there is more material coming down the line; some of the artists/sounds that has inspired him – he shares a fond memory involving Scott Matthews.

I ask Joel whether he has advice for artists coming through and how his music has changed since the start; if he chills away from music and has time to unwind – he recommends an artist we should invest some more time in.

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Hi, Tiny Eyes. How are you? How has your week been?

Hot! With all the crazy heatwave temperatures my week has mostly been spent melting.

For those new to your music; can you introduce yourself, please?

Er, hi. I’m Joel, A.K.A. Tiny Eyes. I write songs on my piano and I make noises with things I find around my house and I put it all together on my laptop. It’s proper, old-fashioned songwriting stitched together into a collage of acoustic instruments, lo-fi synths and home-made samples.

How are you taking to all this hot weather? Is it compelling songwriting and energy – or is it a bit draining?!

Well. It’s so hot that my piano’s gone out of tune - so I’m on an enforced songwriting break at the moment. I don’t mind, though - I’ve got a stockpile of songs which I stashed away last winter like some kind of crazy squirrel. I can wait until the weather is cold and dark again before I write some more. In the meantime, I can enjoy the sunshine and tell people about my new tune…

Just Saying is out. What is the inspiration behind the song?

Erm. It’s kind of a day-to-day love song. So many songs are written about the beginning or the end of relationships. I decided to write about what happens in the middle:  the 99% of everyday life that just gets ignored. So, it’s like randomly-chosen slice through my life…waking up with a hangover, then a bit of existential angst; saying things to wind up your partner…a typical day without any high drama.

Is there more material coming down the tracks? What are you working on?

Shhh! It’s all secret! Yes. I’ve got a queue of songs that I’m waiting to record, for a debut album that’ll be out next year. I’m pretty excited about the way it’s taking shape, although there’s a fair bit of work still to be done before I can let it out into the wild. There will be another single or two out before the album, too, so plenty to look forward to in the next few months.

Do you think your music has evolved and shifted since you first started? What are the main lessons you have learned?

I suppose it’s always evolving and shifting in subtle ways but, really, that’s something I don’t try to think about too much. If you worry about that, there’s a danger you’ll end up trying too hard to be clever and different and you forget about making something that’s actually good.

As far as learning lessons; I try not to learn too much. Nothing feeds the creative process better than stumbling around like an idiot, making mistakes; playing the wrong notes, saying the wrong words. Try to look at it all with a kind of wide-eyed wonder. That’s where all of the best new ideas come from - and I never want to cut myself off from that.

Which musicians did you grow up around? Did your parents introduce you to a lot of different artists?

Yeah. My parents have great taste in music. They introduced me to loads of good stuff when I was growing up from The Beatles to Tom Waits to Bowie to Radiohead.  I’ve always had a very musical circle of friends - we were always in bands, trying to write our own songs; learning how to record, often failing spectacularly but having a lot of fun.

What do you hope to achieve in 2018?

Stay alive...

Anything else is a bonus…but, recording the rest of the album should probably figure in there somewhere.

Have you got a favourite memory from your time in music – the one that sticks in the mind?

This sounds like we should be in an awards ceremony, for the Rock and Roll Hall of Fame or something, with me looking back across a long and illustrious career: “Well; I suppose there was that time when Jagger and Richards covered that tune, you know; the one off my third album”…but, to be honest, some of the best fun I’ve had so far was shooting this latest video, wandering around the neighbourhood in a monster costume. Some of the looks from passers-by were priceless.

If you could support any musician alive today, and choose your own rider, what would that entail?

Well. That’s a bit of a moot point because Tiny Eyes isn’t a live project. Not for the time being, at least. I’m not convinced that it’s a good idea to meet your idols anyway. What if you really hate them when you meet them in person?! Sometimes it’s better not to have that illusion shattered! Having said that; Martha (Bean) and I did get the chance to support Scott Matthews once. An utterly captivating performer and a genuinely great guy. Seriously tall, too - I’m about six-foot-one and I felt like a proper short-arse talking to him.

With riders, I’ve come from a background where any kind of gig rider is a bonus. The idea of charging in and demanding loads of awkward stuff just feels plain wrong. Food? Anything that isn’t sandwiches or crisps. Oh, and as many cups of tea as I can drink. I’ll take that bottle of whisky, though, if you’re offering.

What advice would you give to new artists coming through?

How about making some great music?

Don’t just settle for being a half-decent copy of an artist you like. Make a record that’s so good people crash their cars when it comes on the radio. Be wary of most advice, too…even if something worked for somebody else; it doesn’t mean it’ll work for you. If your gut says to do something and other people tell you to do the opposite, ignore them and follow your gut. Have the courage and the patience to make your own mistakes. It always pays off.

Is it important getting on stage and putting your music to the people? What kind of buzz do you get?

I don’t perform my music live but I do massively enjoy sharing the songs with the world.

What kind of buzz do I get? Picture a raging hive of killer bees being attacked simultaneously with a blowtorch and a chainsaw - something like that.

 IN THIS PHOTO: Andy Shauf/PHOTO CREDIT: Geoff Fitzgerald

Are there any new artists you recommend we check out?

It’s a couple of years old now, but I’ve recently discovered Andy Shauf’s album, The Party, and it’s definitely my go-to album at the moment.

Do you get much time to chill away from music? How do you unwind?

Yeah. What’s that saying 'action drives out thought'? So; I try not to be too busy. I play a few five-a-side football matches every week. Sometimes, I go to foreign countries. I drink Mezcal. I add fresh chillies to everything. I set up troll accounts on Instagram - and I have a very comfortable hammock strung up in my back garden.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Well. As I mentioned him earlier; how about Virginia by Scott Matthews? One of my favourite-ever songs - devastatingly good

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Follow Tiny Eyes

Twitter:

https://twitter.com/tinyeyesmusic

YouTube:

https://www.youtube.com/channel/UCsw1qrHgvGutGLWTrP6AhMA

SoundCloud:

https://soundcloud.com/tinyeyesmusic

Spotify:

https://open.spotify.com/artist/6Gypj6mwacYFBx0ZKBlHjF